Word: lorenzaccioã
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These girls were brave, to put it mildly. Their show ran on the same weekends as the extremely “artsy” Lorenzaccio ran on the Loeb Mainstage; Lorenzaccio??s bizarre video screen projections and set which often blocked the view of the action were far, far removed from South Pacific’s wide smiles, clever choreography and unending optimism...
Scheib had to tailor Lorenzaccio not only to the cast but to the stage. Alfred de Musset never intended Lorenzaccio??s five acts to be staged, and the speed of the play, the warped, cinematic quality that has dressed up the tragedy as a farce, can’t wait for conventional set changes. The video camera lets the set remain fixed, and the action to move from room to room. It also lets the audience “see around corners,” an idea that Scheib takes very seriously...
...push all of the others at some point) can occasionally seem poorly executed. Readings of the play looking for a rigid message or in-depth treatment of themes on a level beyond the atmospheric might have further qualms. Indeed, Scott R. Wilson ’04, Lorenzaccio??s dramaturge, should never, ever be allowed to write a playbill’s notes again: his program assertion that directorial decisions to ‘collide’ characters reveals “a careful (Foucauldian) attention to the fluidity of conceptions of gender and sexuality in the Renaissance...
...Lorenzaccio??s expansive set design, courtesy of Andrew D. Boch ’03, is fantastic. His set is concretely evocative of real-world urban decay (the party cups littering the chunks of prefab house that dominate the stage give the setting a sort of frat-house feel) and yet still very surreal; the building crew have put considerable effort into this set, and it shows. It also combines with high-end costuming by Gisli Palsson ’04 to create an ambience that is all the more plausible for its anachronism...
...ART’s massive video screen, which is being increasingly integrated into Repertory productions, is put to fabulous use by Leah Gelpe, Scheib’s collaborator and Lorenzaccio??s Sound and Video Designer. In a perfect solution to the problem of the set’s complicated division of interior and exterior spaces, a pair of on-stage camerapersons send live footage of various scenes directly to the screen. Issues of form aside, this makes for moments of tremendous dramatic power—intense moments of dialogue and close-ups on actor’s faces...