Word: annal
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Dates: during 1960-1969
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...even in its embryonic state this show seems better than average, it has to be because of Annal's magnificent sets, the best since Sean Kenny's for Oliver. Without much bulk, they suggest variety and expanse; without (I suspect) too much money, they suggest a show budgeted well over half a million dollars. The only unfortunate touches are a cartoon-blue ocean background in the lighthouse scene and a sickly dash of pink in the finale...
Opting for a bare raked forestage, Annals has erected a plain wooden back-wall containing an enormous medallion, which can open to form a twelve-rayed golden Incan sun and reveal a raised acting area behind. This sun is so constructed that, in a way I must not reveal, it later contributes appreciably in conveying a feeling of horror at the Spaniards' avaricious plundering of Incan wealth. His exotic, colorful (and, at one point, tinnient) costumes for the Peruvians contrast effectively with the Spaniards' blacks and grays, only occasionally relieved by white and red. And Martin Aronstein's lighting...