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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...

Author: /time Magazine | Title: Mad, Bad and Dangerous | 12/7/1992 | See Source »

...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...

Author: /time Magazine | Title: Something New For the Met | 12/30/1991 | See Source »

Elegant. Hauntingly beautiful. The sets for Henrik Ibsen's When We Dead Awaken, based on an original English translation by American Repertory Theatre Artistic Director Robert Brustein, confirm post-modern director Robert Wilson as a visual artist of the first order. The scenery, designed by Wilson and John Conklin, is minimalist yet loses nothing in sumptuousness or effect...

Author: By Garrett A. Price, | Title: Wilson Staging Betrays Ibsen's Work | 2/22/1991 | See Source »

Black Rain stars Michael Douglas (Wall Street) as Nick Conklin, a tough New York policeman who has been assigned to take a captured Japanese mafioso back to Tokyo. But Douglas blunders when he gets to Japan. At the airport he delivers the prisoner not to the Tokyo police, but to mobsters impersonating police...

Author: By Kit Troyer, | Title: No Sunrise Over Tokyo | 9/22/1989 | See Source »

...next scene--the bulk of the play--takes place in the spa's dessert room. John Conklin and the ART technical crew deserve an extra bonus for work that went into the design of this set piece, as stunning a room as you will see in the great palaces of Europe. Conklin was also responsible for the cunning costumes, which express the personality of the characters much more stylishly than Ribman's autistic dialogue. One tactic for surviving Sweettable is to turn off your mind and float into a visual reverie...

Author: By Cyrus M. Sanai, EDITOR EMERITUS | Title: STAGE | 2/19/1987 | See Source »

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