Word: loquasto
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...Leonard Bernstein would have been welcome, but the lean, laconic score keeps the action moving, lending Miller's kitchen-table naturalism a freshening touch of poetry. Add in Josephson's star-quality performance as Eddie, the exemplary staging of Frank Galati (who directed Broadway's Ragtime) and Santo Loquasto's angular set--the Brooklyn Bridge as painted by Franz Kline--and you get a no-nonsense tragedy whose final curtain falls with the tight-lipped impact of a police report...
...perfect diamond--and hard enough to cut glass. What makes it work is its maker's willingness to stare into the abyss, backed up by the taut, pellucid brilliance of the company's dancing, Andrew Bridge's vibrant lighting and the perfect set and costumes of Santo Loquasto, who has conjured up a hundred clever variations on Fosse's beloved basic black...
...ultra-innovative Twyla Tharp, ranges from hauntingly mechanical to precociously cute. A gigantic grid of flourescent lights dangling at varying angles just inches above the dancers' heads adds to the surreal, Blade Runner-esque mood onstage. No-sweat-showing spandex and stretch velvet seem to be costume designer Santo Loquasto's fabrics of choice for this production--the men don shimmery silver tank tops and billowy white pants, while the women wear either two-color fluttery gowns resembling beach cover-ups, or bathing beauty-style suits and hair kercheifs. All this, added to robotical pattering about and (mostly womens...
Allen's filming style spoofs the German expressionist genre--similarities to Frankenstein and The Seventh Seal abound. The film is shot entirely on soundstages designed by Santo Loquasto. Narrow cobblestone streets, gaslights and footbridges enhance the gloomy atmosphere. Shimmery ponds and a fake night sky further increase the mood and the comedy. Allen establishes the tone of the picture when a mystic (Charles Cragin), who uses his sense of smell to sniff out the strangler, leads to a torch-bearing mob through the winding streets...
...noisy concerto by the 19th century Irish piano virtuoso John Field (thus the Field in the title). In commissioning the piece, Artistic Director Mikhail Baryshnikov asked only that Gordon use a set, and Gordon came up with an inventive one. Executed with cheeky wit by Santo Loquasto, it unfolds from left to right like a Japanese screen: first a sort of rock field, then above it, an orange mountain on which are painted more folding chairs...