Word: conklin
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Dates: during 1990-1999
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...those seated in the third balcony and unable to appreciate the finer aspects of ballet technique, this production nevertheless assures entertainment through its lavish display of scenery and costumes. John Conklin based his scenic designs on the fifteenth century painting style of Fantastic Realism landscapes and German High Gothic architecture. Crimson Ballrooms and misty mountain vistas heighten the drama of the production, and Conklin's costumes are equally timely and striking...
...daunting and cavernous sets of Henry IV, Part Two, designed cleverly by John Conklin and illuminated superbly by Frances Aronson's lighting, look and feel surprisingly like the current American landscape. Although it may not be comforting, nor particularly pleasant, it is both familiar and recognizable. We sense that we are watching ourselves, watching our own world, as it hurtles toward an uncertain fate...
...Princeton--Kevin Lowe (2), Scott Reinhardt (2), Taylor Simmers (2), Bart Bansbach (2), John Stanitski(2), Jeff MacBean, John Burstein, Jason Buttles, Torr Marro, Scott Conklin, Todd Higgins; Harvard--Ed Sim (2), James Ames (2), Mike Eckert. A: Princeton--Lowe (5), Jay Quayle (2), Conklin, Brian Tomeo, Simmers, Marro, Mansbach; Harvard--Steve Gaffney, Dan Nicklas, Mason Wynocker. S: Princeton--Scott Bacigalupo 15, Daniel Gutstein 1, David Kashatus 0; Harvard--Matt Camp 18, Walter Sipe...
Instead, set designer John Conklin evokes a gray, gloomy, decaying world (much like present-day Britain, in fact) that is literally falling apart. The centerpiece is a crumbling Ravenswood castle -- nevermore! -- that conjures the shades of doomed fictional redoubts from the Gibichungs' hall to Carfax Abbey, replete with scattered coffins, drowning pools and blood-red skies. So powerful are the designs that, probably for the first time in Lucia's history, one leaves humming the scenery...
...Corigliano set out to compose an opera buffa, an 18th century-style comic opera such as Figaro or Cosi Fan Tutte. As realized on the stage, scene after scene has a vivid, antic quality that somehow escapes being overly busy. Exploiting the vastness of the Met stage, designer John Conklin deploys props -- solid, handsome, witty -- in ever shifting assemblages. Director Colin Graham sends ghostly ladies flying gently through the air, each looking like a Fragonard dreamscape. Whatever their sins against the people, these aristocrats have found a happy repose, and the opera's creators betray a considerable royalist bias...