I have been drawing heavily on these interiors:
The Ghost Sonata does not play by the same rules as most plays. The action might be happening in some sort of afterlife like purgatory or hell, or it might be a memory, or a nightmare.
Everything that is done by the actors happens with precision. Every movement is symbolic and ritualistic.
The result is that standard traffic patterns no longer apply. This set includes a major dead-end to movement on the upper balcony, something which ordinarily I would never tolerate. This production was not about standard movement, though.
For me, The Crucible is about fear of the unknown, fear of the New World, and fear of the devil. All of these can be captured in a single metaphor: Fear of the Forest.
For this production, a wall of New England aspen trees, in silhouette, stands all across the composition against the sky. All of the scenery for the show is achieved through a series of light boxes built into this wall.
We cut out the doors, fireplaces, and windows. All windows were covered with black rear-projection screen. The entire wall was painted black. Everything was then covered with black scrim, so that there was no difference in sheen between the rear-projection screen and the painted surfaces. The fireplace and the doors were invisible when closed.
Lettice and Lovage requires three distinct settings. The venue for this production had no fly system, and limited wingspace. One of the tasks of this design was to establish all of the settings, making the set changes happen quickly and easily, and to not consume too much wing space. Towards this end, wagons were used that were double-sided, becoming components of multiple sets.