Word: colavecchia
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What seems to bring Tots in Tinseltown slightly above the horizon of mediocrity isn't really a coherent whole: the art-deco sets by Frank Colavecchia, especially the backdrop for Preston Folded's Hollywood home; a few of the costumes by Barry Odom--one eye-catcher was Henna Hoofer's feathery outfit for the imaginary movie number, "Pigeons of My Heart"; and Ronald Melrose's music, which goes so far as to include an anomaly of sorts in Tots, a serious lost-love song called "Minus Me." All this floats around in a melange of parody and self-parody that...
Corsaro, a veteran director of Broadway and opera, has given Treemonisha a dreamy, timeless feel that softens its awkward edges and enlarges its fable. He and Designer Franco Colavecchia have conceived sets that underline that aura of make-believe. The plantation cabins, for example, are shells that are held up on poles by supers. The rainbow that greets Treemonisha's ascendancy to leadership is an arch of ribbons. Dancers with alligator and bear masks move in and out of the voodoo scene. Louis Johnson's choreography does have a touch of Broadway pizazz. But when those good plantation...
Throughout the play we are barraged with creations like the horse that individually reflect great imagination but together conspire to break the play's rhythm and dwarf the actors' role. The designers, Peter Agoos and Franco Colavecchia, have produced aluminum trees that quality as sculpture but prove unwieldy and stunning wire masks for the stereotyped foreign companions aboard Peer's yacht that reveal their national character but muffle their voices...
...necessarily disagree with what Mr. Ayrton said in your article but I do very much disagree with your opening paragraph. Franco Colavecchia Designer/Consultant Loeb Drama Center
EASILY THE MOST inventive aspect of the production is Franco Colavecchia's set. It is starkly unpretentious, and at first glance seems almost too bare. But the backdrop, seen through three rectangular frames, turns out to be a series of projected slides that change with every scene. This clever technique, highly appropriate to the play's emphasis on sight and the technology of seeing, works especially well in the scenes with perspectives of grand interiors. Unfortunately, only those who are sitting smack in the middle of the theater get the full effect...