Playfully animated projections let us know when and where each scene is taking place. Each scene in Vietgone has the visual impact of a panel in a graphic novel meant for adults. A walkway hovers above the main set and hosts shorter scenes, sudden interjections, that provide background information to the central storyline Designer Brian Sidney Bembridge opts for Intimacy in his open marc dylan luke hass 1 simple bare stage with a revolve providing different settings.
Dissecting the revolve, a walk way extends above the stage, and titles and visual projected onto the wall. Vietgone has a look reminiscent of a Brechtian production, eschewing realism for a more presentational approach.
This approach engages the audience The Brian Bembridge-designed set for Vietgoneconsists only of a scaffolding above a wall. The revolving set by Brian Sidney Bembridge perfectly captures this helter-skelter exile refugee life. The sets by Brian Sidney Bembridge are detailed enough to serve the story and clearly establish place, but simple enough not to pull focus from the characters inhabiting them. And there are moments near the end of both acts that elicit some of Intimacy in his open marc dylan luke hass 1 most powerful reactions Matt Sarrit One of my favorite things in seeing all the shows I do is to stumble upon one that I like to refer to as "alchemy".
It's that rare instance where all of the elements, the script, actors, director, set, costume, lights, music, etc all come together in just the right way and at just the right times to form pure gold.
It may look like science or technical expertise but it's really just magic. If in seeing this show you are not able to have a thrilling night then you're just not There are so many moments in the piece where a bad bit of timing or misunderstanding of the piece could result in a hack job of a magnificent work but he deftly surmounts each and every one and makes them better than you could possibly imagine them to be.
And when coupled with Brian Sidney Bembridge's beautifully stark scenic and lighting design and Catherine Hunt's vibrant costumes the show elevates to a master class of how good theater can be done. The novel unfolds in gossipy letters penned by Merteuil, Valmont and those they ensnare in a web of desire and deceit.
Another winning part of this production is the set and lighting by Brian Sidney Bembridge. From the enormous geometrically mirrored overhang and the unexpected but brilliant use of neon to the gilt ornamented doorway and elaborate pieces of 18th C. French furniture, the mixture evokes past and present, reinforcing the idea that bad behavior transcends time. Be prepared to be mesmerized! Director John Langs moves everyone around like a master chess player, positioning each for the kill.
Langs has also assembled an impressive crew to help bring Liaisons to life. Although the platform stage was small, it was both striking and sophisticated. A few period-characteristic furniture pieces on stage were matched with a stunning door, chandelier, and spectacular faceted suspended mirror. The stage was framed in a neon strip and another strip floated up and down as a backdrop behind the set.
Set transitions were smooth and the cast participated Intimacy in his open marc dylan luke hass 1 some of those changes, which I personally love seeing.
I'll take historical 'drama' literally and figuratively over the Kardashians any day. The geometric pool with its wooden border is the primary playing space, backed by a blue sky, raised platform and a spiral staircase. Most of the time the actors are wet--splashing, drowning, diving—and whatever magical fabric they're using, they then reappear dry. It is dazzling and fun and mystifying to see so much stagecraft in action.
Bravo to Brian Sidney Bembridge, the scenic designer. The set, expanding beyond the pool, feels like the grotto of some timeless mansion, a space for mythology and modernity to cohabit.
The entire cast is terrific, the design work spectacular — not just the scenery by Brian Sidney Bembridgebut also lights, costumes and sound Olivera Gajic, Thom Weaver and Christopher Colucci, respectively. Can a show be too artful? I wondered as I watched, and found myself filled with admiration for every stage picture and beautifully sculpted moment.
In Doug Hara's visually arresting production, the actors might be wet one minute in one myth, dry the next in another. Brian Sidney Bembridge designed the sleek poolside set, and Olivera Gajic uses simple draped Roman clothes, contemporary clothes and elegant costumes to make the necessary points of the different stories.
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Tom Weaver's lighting and Christopher Colucci's sound seal the deal, both in the heavens and down on earth. It is a mystical, magical set designed by Brian Sidney Bembridge, with gods appearing on a platform above the stage and sometimes descending to woo or test the humans who dare to challenge their rule.
A chandelier sparkles above the scene and eventually candles float on the water in lighting design by Thom Weaver. However, that same pool, which is so shocking at start, ends up becoming a character itself, almost blending in as the gorgeous production starts. The pool is never distracting and even the segments that Intimacy in his open marc dylan luke hass 1 not explicitly make use of the water float comfortably in its wake.
Hara's production is visually stunning, intellectually challenging, and emotionally gut wrenching. The set design by Brian Sidney Bembridge is dazzling in its opulent simplicity and facility to render earthy and ethereal vistas- A vivid brick and laureled entrance for mortals giving way to a magisterial steely blue balcony where the gods to appear.
They lord over a dark, shallow rectangle pool wrapped with planks, where the main action takes place.
The large round platform looked sleek and as if it was covered by polished black alligator skin. Pieces and traps are neatly removed to provide steps and holes from which the weird sisters can appear.
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There is a series of stairs and walkways set into the proscenium stage from which characters enter and exit. The set itself centers around a pool containing 2, gallons of water surroundedby planking, making it a theatre-in-the-round experience on three sides.
Brian Sidney Bembridge, as Scenic Designer, could take credit for that wonderful pool and clever stage. The action unfolds on Brian Sidney Bembridge's sleek urban set comprised of acrylic glass and steel cubes. In this "glass house," everything is transparent.
The truth, of course, is rarely readily apparent. One never knows what to expect upon entering a theater. Nichols Theatre, we were greeted by a stage that appeared to be created in glass Brian Sidney Bembridge. The set was designed to keep the action moving so it is the same basic furniture for every apartment, with the wall painting changing, a few pillows here and an ottoman moving from side to side.
Their messy affair flits between loft parties and luxury condos Brian Sidney Bembridge's steel-and-glass set captures the urban sheen of four Manhattan homesleaving chaos in its wake Best thing going here. Not a thing is out of place in this over-priced Manhattan apartment.
It has less warmth than a well-designed hotel room. Equally detached is the jazz that plays in the background. But there is nothing personal about any of this.
Or, on second thought, maybe this is what personal feels like to this well-connected, high-powered couple. Perhaps chilly is as good as it gets here.
Instead of a rural Russian estate, Posner gives us a rustic summer home that might be on a lake somewhere in northern Wisconsin or Minnesota. And, as always, designer Brian Sidney Bembridge has created a total environment, whose autumnal, leaf-strewn floor, white birch trees, cozy cottage interior and simple dock complete with rowboat is enough to trigger dreams of a summer idyll.
Set in a secluded family cottage, the tangled yarn of longing, lost love and personal and professional accomplishments and life's missed moments leaves audiences to face a reflection of self-examination of mind, spirit, heart and soul.
Fantastic stage design for "Life Sucks" by Brian Sidney Bembridge offers an added element of interest and symbolism, including the peeling bark of birch trees to a small rowboat tethered in a muddy stream populated by cattails next to the quaint cottage where lives and emotions converge. The beautifully designed set by Brian Sidney Bembridge, who also designed the lighting shows the rear deck of a country house, with a distinctly Russian feel in the roofline. The house is surrounded by birch trees and the set offers places for actors to sit and perch on several levels so that the action seems to move dynamically.
I highly recommend this life exploration show but be warned of its Intimacy in his open marc dylan luke hass 1 content. The set is dominated by a quaint, two-story cottage, a weathered rowboat docked nearby and a vast skyline highlighted by a forest of stately birches.
The contemporary characters of "Life Sucks," who run around a wittily wooded set from Brian Sidney Bembridge, know they are in a play and like to chat with Intimacy in his open marc dylan luke hass 1 paying customers — I mean, we're in all in a play, right?
The design at TimeLine Theatre Creates a believable, symbolic world. The two-level set encompasses the entirety of the space, comprised of a bar, tables, stage, and stairwell leading up to the guest room which Blue rents out to Silver. Up until she appears, however, Parson and his creative team smartly and symbolically keep the room dark. As always, the TimeLine lobby is a treasure trove of old-time club posters, photos of lost buildings from Black Bottom, biographies of jazz greats, and contextual information about post-war Detroit—one more labor of love from this history-loving company.
And with the help of the designer Brian Sidney Bembridge, he does his considerable best in a small space to convey the restless glamour of the play's cultural moment and the humor of characters loving a place where they can be themselves, while still forging a noirlike sense of impending doom for a paradise we now know was on borrowed time. Excellent PTC production designs starting with the church rec room sets by Brian Sidney Bembridge festooned with religious iconography and cheap shots keep giving, as does the witty sound design by Daniel Perelstein.
Huffington Post I howled with laughter throughout, especially once Tyrone rampaged and all those naughty secret desires were revealed. In addition, Brian Sidney Bembridge's sweet church-basement classroom set transforms into a bloody tribute to Satan, who bears a disturbing resemblance to our current president. Painted cinder blocks of puke yellow and all! The top-notch acting and direction are enhanced by a first-rate artistic design.
The cleverness continues with a series of ambitious sets designed by Brian Sidney Bembridge and lit hilariously by Thom Weaver.