Word: proscenium
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...misfire (for example, Gabey's ballad "Lonely Town" is played against a sky-blue background interrupted only by three stalagmite-like skyscrapers which make the place look more like Monument Valley), although the first act's Times Square design, crowded with neon that even extends to a multi-colored proscenium, hits pointblank. Crowded up against the footlights, the large ensemble looks exactly like the blatantly artificial casts that people the production stills I've seen from the period. (One other bit of nostalgia I could go for in a big way would be the removal of the floor mikes that...
...audience does nothing else, it can always enjoy this year's new visual delights within the 75-ft. proscenium. At stage rear and stage right are two modular kinetic sculptures by Czechoslovakia's Milan Dobes, 41, that provide a light-show backdrop of spinning whites, reds and blues for Mayuzumi's Concerto for Percussion. Even the players' chairs are part of a huge steel stage sculpture designed by Japan's Yasuhide Kobashi. Perhaps "chairs" is not the best word: the seats are actually wood slats fastened like steps up and down vertical tubes that...
Vaughan is totally unimpressed with the Loeb as a physical plant. Like most people who have worked with the mainstage, he finds it quite inflexible-essentially good for nothing but proscenium staging. "A lot of money was spent to little effect," he claims, "for an arena capability that doesn't exist." He pointed out that no director could manage a genuinely three-sided staging even when the stage is thrust forward and the seats rearranged. "Who's going to direct for the hundred-odd people on either side when you have six-hundred out front?" The size of the Loeb...
...gasp. Enter Alka-Seltzer. Finally, after a perfect take, the prop oven door falls off, and the tired director sighs, "Cut. O.K. Let's break for lunch." It may not be Pirandello, but the effect does depend on taking the viewer across the TV "proscenium" into the studio...
...dancers perform in the head's ugly proscenium of a mouth, a hint that Andersen felt that femininity itself was a trap. In one collage that he made for Agnete Lind, the child of Louise Lind, one of his early unrequited loves, a snake shares the page with one of Andersen's own book covers, a sketch of an audience and a blue cutout doily. It is the serpent in Eden. "This," Andersen scribbled under it, "is the snake of knowledge, representing both good and evil." The dilemma of coming to grips with any work of art became...