Word: conklin
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Dates: during 1970-1979
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...this production director Michael Kahn has made all this especially clear, with the help of Jane Greenwood's costumes and Ken Billington's lighting. In the first Sicilia scenes, everyone is in snowy white. In Bohemia, John Conklin's handsome cyclorama of hanging Lucite tubes is lit with the green of vegetation, and the actors wear colorful yellows and greens. When we return to Sicilia for the last act, the whites have been softened with patches of light grey. In addition, the character of Time (Powers Boothe), whom Shakespeare brings in only to bridge the celebrated 16-year hiatus, appears...
...entire production at Manhattan's Mitzi E. Newhouse Theater is laudable in its clarity and lack of gimmickry. The spare, pillared set of Santo Loquasto is a marvel of economy, and the tasteful costumes of John Conklin never distract from Shakespeare's lines, an unmixed blessing, considering who wrote them...
...John Conklin has designed a handsome setting, all in off-white, just starting to show signs of deterioration. Three pairs of floor-length lace curtains catch the wisps of breeze and a variety of colors from the fireworks in the garden. In the center of the room, where it belongs as a major bone of contention, is a large double bed. I am reminded of the blooper committed by a TV announcer promoting the showing of the play's film version: "See Elizabeth Taylor and Paul Newman in a Cot on a Hot Tin Roof...
...John Conklin has designed a versatile buff-colored unit set. There is a balconied building to the right, with a console-supported bust ornamenting one wall. To the rear stands a gateway and wall. In the center is a rectangular cistern, which, with the dropping from the grid of a canopy or crucifix, can be covered in a trice to become Juliet's bed or Friar Laurence's altar. A few chairs and round tables turn the building into a sidewalk cafe, with an organ-grinder on hand to increase authenticity...
...John Conklin, new to the AST, has designed a serviceable unit set. In the distance is a sky-and-seascape (I could do without the movable ocean-wave cutouts). To the right is a staircase, and situated here and there are a stone lantern, short columns and statuettes. Perhaps suggested by the Christmas-tree tinsel of the Twelfth Night season, the pervading color of all the solid objects and their trimmings is silver. A close inspection, however, reveals a number of human skulls outlined in the surface textures, as though to suggest--quite rightly--that there are sombre or tart...