Word: koturbash
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Dates: during 1990-1999
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...most part, Allison Koturbash's striking set design and John Ambrosone's gorgeous lighting work perfectly with the text. All of the action takes place in Dodge and Halie's open, spare, white living room. The stage is tilted and slopes toward the audience, creating the uncomfortable sense that the actors, at any minute, may fall into the empty orchestra pit. The sheer size of the steep, imposing staircase that looms in the background makes it seem to have much more to do with the action of the play than it actually does. But it looks great nonetheless, especially when...
...Prentiss's acting pulls us out of the moment, perhaps this is not such a bad thing--as the set and lighting are truly worth taking the time to inspect carefully. Allison Koturbash has created an extraordinary set design, using 8 television screens as her canvas, to do everything from running the Cybernectromantics program, to representing a telephone, to bombarding us with a series of flashing fluorescent images. John Ambrosone's lighting design compliments this perfectly, adding significantly to the stark and futuristic atmosphere...
...designer Allison Koturbash has given the stage a spare, sleek look, with our attention concentrated on a raised platform that effectively tips the actors towards us, gestures towards their interaction with us, their staging of a show. The original music composed by the director Marcus Stern, enhances the striking mood changes suggested by the language to the play. The music itself enacts the idea of echoing discussed in the play, the idea of the resounding of words from sources beyond us in history...
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