Word: zellmann
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...created under the direction of designer Beth G. Shields ’10, is comprised mainly of a dining table, a few chairs, and a countertop. It highlights the existentialist nature of the play. Sound and lighting are also used sparsely by Stone and Lighting Designer Michael W. Zellmann-Rohrer ’10, but effectively, to heighten the emotions evoked from the audience.Though the play is hindered at several points by contrived acting, for the most part, the performers effectively and convincingly breathe life to Pinter’s critically acclaimed drama. The dedicated cast and staff work together...
...Libeskind ’11, was pleasing to look at but did not comfortably mesh with the actual tone of the play. White drapes along the wall and white lace coverings over the furniture and plants perfectly create the starkness of an asylum. The lighting, designed by Michael W. Zellmann-Rohrer ’10, shifts between stark white lights, softer ivory ones, and red tones, and serves to heighten the setting. But while the set is well-executed, it remains unclear how it fits into the overall artistic vision of the play.The issue seems to lie with the direction...
Combined with the soft, atmospheric lighting of Michael Zellmann-Rohrer ’10 and the set’s pillow-strewn palace rooms and smoking dens (designed by Aileen K. Robinson ’08), Orlosky’s choreographed belly-dances made for a production that sometimes came off as excessively luxurious. Despite Okocha’s terrific performance, it was impossible to ignore the fact that Shahrazad is less a character than an embodiment—there were innumerable references to her “beautiful body”—of a set of existential...