WORLD SCENOGRAPHY 1990-2005

Praise for the first volume, This is the second volume of the World Scenography book series that
World Scenography 1975-1990: documents for posterity a collection of significant and influential theatrical
“One of the most important works on stage set, costume, and lighting designs. The first volume documented 1975-1990.
design ever published.”
 This one covers 1990-2005 and presents designs for 409 productions from 55 countries
—The Drama Book Shop, Inc. (New York City) representing the work of hundreds of designers as researched by a group of more than
100 dedicated volunteers from around the globe. The book series is published by the
“A sumptuously illustrated coffee-table
International Organisation of Scenographers, Theatre Architects and Technicians (OISTAT)
volume…spellbinding images for all
— a UNESCO-recognised organization — and is a project of the OISTAT Publications and
theatre fans…” 

Communication Commission. Through its member centres, and its individual and associate
—Rupert Christiansen, The Daily Telegraph (London)
members, OISTAT draws together theatre production professionals from around the world
“The importance of the work cannot be for mutual learning and benefit. Its working commissions are in the areas of performance
denied; its challenges are daunting, almost design, technology, publication and communication, research, education, and architecture.
Sisyphean…page after page offers the pure Both editors have worked for many years to benefit theatre professionals internationally
pleasure of seeing the work of brilliantly through their activities in OISTAT.
talented designers…it is impossible not to
look forward to the next editions…”
 Peter McKinnon and Eric Fielding probably met each other at the Banff School of Fine Arts
—David Barbour, Lighting & Sound International in the early 1980s, when Peter was on faculty and Eric was taking Josef Svoboda’s master
(New York City/London) class there. Neither of them remembers the other. They first worked together in 1993 when
Eric was the general editor of the OISTAT lexicon, new Theatre Words, and Peter was an
“It is a treasury of memorable images, that
English editor. They next worked together on the first World Stage Design exhibition in
I will visit and revisit and marvel at, again
2005 in Toronto, Canada, for which Eric was the director and Peter was in charge of local
and again…”

arrangements. This book series, their third joint undertaking, started with a remark from
—Liam Murphy, The Munster Express (Ireland)
Eric at the Honourable Scenographers’ Forum at the Prague Quadrennial in 2007. In this
“One of the most beautiful, interesting, and case, it is particularly true that the rest is history.
fulfilling books in scenography —ever!”

—Dr. Joel E. Rubin, Co-Founder of OISTAT
Eric Fielding is professor emeritus at Brigham Young University where he taught scenic design and
“I strongly recommend it to theatre was resident set designer for 28 years. He also taught design at the Goodman School of Drama, the

WORLD
scholars, patrons, students, fashion University of Texas at Austin, and the University of Utah. He received his BA from BYU and his MFA
designers, art collectors, historians, in design from the Goodman School of Drama at the Art Institute of Chicago. A 30-year member of
architects, and entertainment the United Scenic Artists 829 professional designers’ union, Fielding has design credits that include
entrepreneurs…”
 scenery and/or lighting for almost 300 plays, musicals, operas, concerts, pageants, events, films, and

SCENOGRAPHY
television productions. He is a Fellow, former Vice-President, Founders’ Award and Lifetime Member
—Emmanuel Dandaura, Leadership (Nigeria)
Award recipient of USITT. He is a 35-year member of OISTAT where he served as vice-chair of the
“This is certainly a beautiful volume, one Scenography Commission and for ten years as the commissioner of Publications and Communication
that designers and many other theatre where he oversaw the publication of new Theatre Words and the creation of the first OISTAT Website. He

1990-2005
people world-wide will want to own…”
 was editor of the journal, TD&T, from 1988-95. He served as designer for the American exhibit at the
—Don Rubin, Critical Stages, The IATC Webjournal 1991 Prague Quadrennial, winning a gold medal for “Mozart in America.” And he was creator, project
(Canada) director, and catalog editor of World Stage Design, a new international theatre design exhibition that
premiered in Toronto during March 2005, with subsequent events in Korea (2009) and Wales (2013).
“This volume…carries on where Hainaux‘s
left off and attempts to document

PETER MCKINNON
ERIC FIELDING &
Peter McKinnon is professor of design and management in the Department of Theatre at York
the works that continue to influence University. He has a BA in English from the University of Victoria and an MFA in directing, history, and
international design. It is enormous design from the University of Texas in Austin. He worked as a lighting designer on some 450 shows,
in scope, spanning fifteen years, with principally for dance and opera. He taught for six years at the Banff School of Fine Arts. He has lit
EDITED BY ERIC FIELDING & PETER MCKINNON
more than four hundred designs, dozens dances, ballets, plays and operas across Canada and internationally, including New York, Paris, and
of countries represented, and works London. He was an editor for new Theatre Words, a lexicon of theatre terminology now in some 28
reflecting diverse design practices…”
 languages. In 2005, he wrote Designer Shorts, a Brief Look
at Contemporary Canadian Scenographers and
—Stephen Di Benedetto, Theatre Design & Their Work, and in 2007
he edited One Show, One Audience, One Single Space by Jean-Guy Lecat.
He
Technology (USA) organised the conference “Wood and Canvas (and rabbit glue) in The Modern Age” in Antwerp,
Belgium, that examined 18th and 19th century wooden stage machinery and its practical usability
RECIPIENT OF THE in the 21st Century. He is a past president of Associated Designers
of Canada and served on the
2014 GOLDEN PEN AWARD executive committee of OISTAT for 16 years. He has produced shows both off- and on-Broadway and in
—presented by the US Institute Edinburgh, in addition to being on the Boards of several theatre companies. And he is a Senior Fellow at
for Theatre Technology Massey College and a Governor of Knox College at the University of Toronto.

ISBN 978-92-990063-4-4

9 789299 006344
 WORLD
SCENOGRAPHY
1990-2005
EDITED BY ERIC FIELDING & PETER MCKINNON

INTERNATIONAL ORGANISATION OF
SCENOGRAPHERS, THEATRE
ARCHITECTS AND TECHNICIANS

NICK HERN BOOKS LTD.

EDITORS: Eric Fielding & Peter McKinnon
DESIGNER: Randal Boutilier at 12thirteen

Copyright © 2014 OISTAT.

All rights reserved. No part of this book may be reproduced in any way
without written permission from the publisher.

Published by OISTAT
International Organization of Scenographers, Theatre Architects and Technicians
Suite A, 2F, No.7, Sec.2, Renai Rd.
Taipei 10055
Taiwan
www.oistat.org

Co-published by Nick Hern Books Ltd.

The Glasshouse, 49a Goldhawk Road
London W12 8QP
UK
www.nickhernbooks.co.uk

ISBN 978-92-990063-3-7 OISTAT Hardcover

ISBN 978-92-990063-4-4 OISTAT Softcover

ISBN 978-1-84842-450-0 NHB Hardcover

ISBN 978-1-84842-451-7 NHB Softcover

Printed and bound in China

by Artron Color Printing Co., Ltd.
 TABLE OF CONTENTS

Editorial Board . . . . . . . . . . . . . . . . . . . . . 7
Contributing Researchers. . . . . . . . . . . . . 8
Introduction. . . . . . . . . . . . . . . . . . . . . . . 11
1990 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1991 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
1992 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
1993 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
1994 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
1995 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
1996 . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
1997 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
1998 . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
1999 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
2000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Production Credits. . . . . . . . . . . . . . . . 389
Indexes. . . . . . . . . . . . . . . . . . . . . . . . . . 417
Acknowledgements . . . . . . . . . . . . . . . 429
 DEDICATION

This book is most sincerely dedicated

to all the volunteers who have given so much of their
time and expertise to the World Scenography book project.
Our circle expanded from two to seven at our first
editorial board meeting in 2008 and then grew from there
until hundreds have been involved.
We cannot imagine how we could have assembled
the immense amount of material contained in these books
without the dedicated input of all concerned.
We are deeply thankful for their invaluable contributions,
their friendship, and their support.

6
EDITORIAL BOARD

CO-EDITORS
Eric Fielding
BRIGHAM YOUNG UNIVERSITY (EMERITUS)
PROVO, UTAH, USA

Peter McKinnon
YORK UNIVERSITY
TORONTO, CANADA

ASSOCIATE EDITORS
Kazue Hatano
TOKYO, JAPAN

Ian Herbert
LONDON, ENGLAND

Osita Okagbue
LAGOS, NIGERIA
LONDON, ENGLAND

José Carlos Serroni

SÃO PAULO, BRAZIL

Sam Trubridge
WELLINGTON, NEW ZEALAND

7
10
INTRODUCTION
On behalf of the many volunteer contributors mentioned in this book’s dedication — along with the hundreds of designers
from around the globe whose works are documented in the following pages — we welcome you to the next volume of the
World Scenography book series.

On one hand, this is the second volume of a series. But we prefer Recently the world has seen the rise of “performance design,”
to think of it as the sixth, since we see it as the continuation which has a much broader definition than this, and which
of the work started by René Hainaux with his Stage Design includes many other forms of public performance, including
Throughout the World series of four volumes that documented the space itself as performer. While we think that this is exciting
1935 to 1975. We also see it as the “next” in an ongoing series with and worthwhile (and while there are a handful of designs in this
anticipation of a “seventh” volume documenting 2005-2015 and volume which could be categorized as performance design) we
the hope of subsequent volumes documenting 10-year-blocks maintain the validity and value of a focus on the “traditional”
continuing into the future. visual worlds created by set, costume, and lighting designers for
performer-centred theatre.
We are humbled and honoured by the reception received by our
first book, World Scenography 1975-1990. Both the reviews the Included with the scores of designs contributed by our
book received around the world and the individual comments international research team and submitted by our associate
made to us have been overwhelmingly positive. It is so gratifying editors — a number of which were exhibited at the 1991, 1995,
to know that others see the value of this project’s mission of 1999, and 2003 Prague Quadrennials — this volume also
documentation and preservation of our international design includes a number of designs that were previously selected by
heritage. an international jury for inclusion in the Gallery Exhibit of World
Stage Design 2005 (WSD) and that were featured in that exhibit’s
We were particularly honoured to receive the 2014 Golden Pen catalogue. WSD, like World Scenography, is a project of OISTAT
Award from the US Institute for Theatre Technology (USITT). — the International Organisation of Scenographers, Theatre
Our book finds itself in the company of 22 other significant Architects and Technicians.
publications in the field of design and production for the
performing arts that have been so honoured by USITT since World Stage Design grew out of discussions that began shortly
1986. Previous Golden Pen Award winners include The Secret of after the 1999 Prague Quadrennial among a small group of
Theatrical Space by Josef Svoboda, His Collected Works by Denis members of the US Centre of OISTAT (USITT). Eric Fielding
Bablet, Julie Taymor: Playing with Fire by Julie Taymor, George volunteered to be the director of the inaugural exhibition. Our
Tsypin Opera Factory: Building in the Black Void by George Tsypin, desire was to see more people experience the rich excitement of
The Theatre of Boris Aronson by Frank Rich & Lisa Aronson, Making an event like the PQ. As it was discussed and envisioned, WSD
the Scene: A History of Stage Design and Technology in Europe and was not intended to compete with the venerable PQ, but rather to
the United States by Oscar Brockett, Margaret Mitchell and Linda complement it. Before we proceeded with WSD, we presented our
Hardberger, and A Theatre Project by Richard Pilbrow. ideas to the PQ directors in Prague and were pleased to find them
supportive. The sense was that four years is a long time between
This volume of World Scenography follows the same philosophy international celebrations of design; that such celebrations ought
as our previous one. Our underlying desire is to document to occur in a variety of locations around the world; that there
significant and influential set, costume, and lighting designs for needed to be an exhibition that is open and inclusive in its nature;
the theatre: “…designs for theatre works with live performers, and that such an exhibition should be focused on the work of the
performing live before a live audience, in real time and in the individual designer, rather than the national-focused installation-
same space, in a work that has been rehearsed, that can be style exhibitions most often seen in Prague.
performed again, and that has a scenographic sensibility.”

11
 At the 2001 OISTAT Congress in Berlin, the concept of this new The value of WSD has been confirmed not only by the interest
international celebration of set, costume, lighting, and sound and participation of designers around the globe in the first three
design was presented with the proposal that the first such exhibitions, but by the shifting focus of the PQ over the past
exhibition be held in conjunction with the quadrennial OISTAT decade from national exhibits of traditional set and costume
World Congress, concurrent with the 2005 USITT Conference design to installations, documentation, and presentations of
and Stage Expo. We were pleased when the OISTAT Executive performance design. That shift has been seen in the most recent
Committee voted to support and adopt World Stage Design as exhibitions; in the name of the event (formerly “The Prague
an ongoing project. Soon after that USITT selected Toronto as Quadrennial: An International Exhibition of Stage Design and
the site for its 2005 conference, WSD and the OISTAT Congress Theatre Architecture” and now the “Prague Quadrennial of
— with Peter McKinnon joining the WSD team as associate Performance Design and Space”); and in the thematic focus
director for liaison and local arrangements — thus reinforcing the selected for each PQ (1991: “The Operas of W. A. Mozart,” 2015:
international nature of the new exhibition. “SharedSpace: Music Weather Politics”).

When the submission deadline for WSD 2005 was reached in Given that shift, the value of having a complimentary quadrennial
June 2004, we had received a response of nearly 1,000 designs exhibit — WSD — is even more apparent. We anticipate that the
from 532 designers representing 43 nations. Each of those next volume of World Scenography will include notable designs
designers ultimately had his or her work presented on large- from both WSD 2009 and WSD 2013, and those seen at PQ’07,
format video screens and interactive computer kiosks in the PQ’11, and PQ’15.
Digital Exhibit section of WSD 2005. In addition, they were all
published in a digital catalogue and a print catalog (sadly, now We have followed the same format for the organisation
out of print). of this book as was used in the first. The selected designs
are documented in year-by-year chapters (although not in
A seven-member international selection jury reviewed all the chronological order within the year), with no political or national
designs and selected a group of 188 designers from 35 nations differentiations being made, other than to include the nationality
who were invited to present their actual renderings, models, (and, where appropriate, the current residence) of the featured
costumes, and soundscapes in the WSD 2005 Gallery Exhibit. designer(s). National artistic boundaries have tended to blur,
A second international award jury viewed the Gallery Exhibit in or virtually disappear, in our current age of almost universal
Toronto, and individual medals and cash prizes were awarded. travel, and we believe that these books should reflect this reality.
And, now, many of those Gallery Exhibit designs are documented Once again, the names of the principals in the creative process,
in this volume. along with details of the performance, are documented in the
“Production Credits” appendices.
During that 2005 OISTAT Congress, an offer was extended by the
Korean OISTAT Centre to host WSD 2009 and the 2009 Congress Our index in this volume once again has listings of featured
in Seoul. During the Seoul Congress, several OISTAT Centres designer names, performance titles, authors/composers, and
made proposals to host the 2013 event. Subsequently, the UK directors/choreographers. This time we also include a listing of
was selected to host WSD 2013 and the 2013 Congress in Cardiff, the names of the other designers of each production team (or, as
Wales. And during the Cardiff Congress, the OISTAT Executive least as many as the contributing researcher was able to provide)
Committee selected Taipei, Taiwan (currently, the home of the in addition to those being featured.
OISTAT Headquarters) to be the host of the 2017 Congress and
WSD 2017.

58

12
As before, this volume is (of necessity) a book of omissions. It used to light emanating from the screen, rather than the light
is not possible for it to be comprehensive or encyclopædic. We that is being reflected from objects on a stage. Leaving aside the
took the submissions of our contributors from around the world different light sources now in theatrical use (incandescent giving
and, wherever possible, incorporated them in the present book. way to quartz-halogen, giving way in turn to gas discharge, which
The only reasons for a significant design or designer not being is giving way again to LED — each with different characteristics),
included were: the design or designer was not suggested to us; we urge scenographers to remember that there is a possibility
the images for the design were too small or of insufficient quality; that our audiences may be growing distant from “real” light in the
or we were refused or could not afford the rights to include the way they view the world.
design (either by the designer, the photographer, or other agency
holding the rights). In all cases, we have made every effort to Another question for readers to consider is whether the advent
secure the applicable copyright permissions, the full credit of computer modeling, drawing, and drafting has influenced the
details, and the correctness of the factual information. work of designers. Of equal interest to some might be whether
the change in training of scenographers from apprenticeship
Our request to the contributing researchers was to acquire or art and architecture schools, to the current university-based
both design creation images (renderings, sketches, models) theatre programme model is influencing design. Or some
and design realization images (production photos) for each readers might want to look at how the gender breakdown among
submission, if at all possible. Sadly, as you will note in the scenographers has changed over the decades.
following pages, we were able to acquire both types of images for
far too few of the designs. We encourage more of our designer Once again, we are deeply indebted to the hundreds of people
colleagues around the world to take the time — and to find the who have worked on this volume, or who have graciously
resources — to make and keep digital image documentation contributed their art (drawings, paintings, sketches, models,
of their design creation work. Also, we encourage the theatres photographs, etc.). We are humbled.
they work for to make sure that quality, full-stage photographic
documentation is made of each production (in addition to the Back in the 1980s, the late, renowned opera technical director
more-often-done actor close-ups), and that such images be made Helmut Großer —and former president of OISTAT — commented
available to the designers. to one of the editors that when the war ended in 1945 many of
the theatres in Europe had been destroyed, thus providing an
We have continued to present a variety of voices in the opportunity to wipe the slate clean and start over with work that
accompanying text, depending on our contributors’ rationales for was new and vital. But he ultimately felt that most post-war theatre
inclusion. We value the different approaches to these brief texts was lifeless. Herr Großer may have been right in assessing the
to add flavour and particularity; sometimes historical, sometimes period immediately after WWII. But in examining the designs
cultural, sometimes personal. submitted by our contributing researchers and associate editors
for 1975-1990 and 1990-2005, we have found that that there is an
Like Hainaux before us, receiving and examining all this work immense amount of exciting, lively, dynamic design work being
gives rise to larger questions. For example, we wonder about created on the stages of the world, a strong representation of
the “dictatorship of the screen.” As the world grows more and which is to be found in the following pages. { }
more used to seeing images on computer screens rather than
in real life, we question whether young people now are getting

13
East and West Germany reunite
• “The Simpsons” premieres
on TV • Exxon Valdez Captain
Joseph Hazelwood goes on
trial for his role in oil spill • First
McDonalds in Russia opens
in Moscow • Hubble space
telescope is placed into orbit
by shuttle Discovery • Lech
Walesa becomes president
of Poland • Wrecking cranes
begin tearing down Berlin

1990
Wall at Brandenburg Gate • A
Chorus Line closes in New York
City after 6,137 performances
• World Health Organisation
takes “homosexuality” out of
its list of mental illnesses •
Saddam Hussein orders Iraq
invasion of neighbouring
Kuwait • Earthquake in Iran
kills 50,000 • Nelson Mandela
is released from prison in
South Africa after 28 years • A
stampede of religious pilgrims
in Mecca leaves 1,400 dead •
Soviet Union leader Mikhail
Gorbachev is awarded the
Nobel Peace Prize • Channel
Tunnel workers meet 40 metres
beneath the English Channel
seabed, establishing the first
ground connection between the
UK and the mainland of
Europe • Depletion of the
ozone layer is discovered above
the North Pole • Iraq invades
and occupies Kuwait • East
and West Germany reunite •
Namibia gains independence
from South Africa • Margaret
Thatcher resigns as Britain’s
prime minister, replaced by
John Major • President Ghulam
Ishaq Kahn dismisses Prime
Minister Benazir Bhutto in
Pakistan • Boris Yeltsin becomes
president of the Russian
republic • Due to Persian Gulf
crisis, gas price hits $1.60
per gallon in NYC • Romania
bans Communist party •
 The Grapes of Wrath
Kevin Rigdon (USA)
Set & Lighting Design

“The audience met Tom and Casy in the parched dust bowl, where they
were introduced by the evening’s first haunting mating of sight and
sound: a fiddler in a lonely spotlight ran a bow across a handsaw, filling
the antique Broadway house with the thin, plaintive wail of the barren
plains. When the lights came up, the audience found a set — a deep,
barnlike shell of weathered wood, brilliantly designed and lighted by [Scenic and Lighting Designer] Kevin Rigdon — that would contain the entire
event. Aside from the occasional descending wall or sign, the only major piece of scenery was the Joads’ mobile truck, piled high with kitchen utensils,
bundles of clothes, and plucky humanity.
“What followed was a stream of tableaux whose mythic power lay in their distillation to vibrant essentials. ... [I]ts atmosphere was created with the
basic elements of earth, water, fire, and air. Even so, Mr. Galati and Mr. Rigdon did not regard homespun simplicity as a license for improvisatory
amateurism. Elegance may seem an odd word to apply to The Grapes of Wrath, but it fit this one.
“Act II paid off with the flood sequence — spectacularly realized here with a curtain of rain pouring down on men shoveling for their lives — and in
remarkably fresh realizations of some of the novel’s most familiar scenes.” — Frank Rich, New York Times

18
 The Robbers (Die Räuber)
Bert Neumann (GDR/Germany)
Set Design

When this production opened, the GDR was

in the last days of its existence. Director Frank
Castorf combined Schiller’s drama about two
brothers who took different directions in their
lives (“good” and “bad”) with music, St. John’s
Book of Revelation, and other stories to create
an “Endgame of the GDR.” Neumann’s stage
had “the tension of a cardboard box or of a typical East German restaurant.” It was a labyrinth,
with a black velvet wall in the background. The view was concentrated on the space behind, as with
a window display. The stage looked like the famous “niche” where East Germans led their private
lives independent of the political system. The atmosphere of uncertainty was expressed in the
concept of the stage space, which resembled a puppet theatre.
Neumann later became famous and was probably the most influential designer of the ‘90s,
because he built sets with multiple stages consisting of many boxes and “found” materials. His
breaking up of forms and spaces opened new ways of treating space on stage, thus creating a new
symbolism. The production was presented at PQ’91, the first and only common presentation by
the two Germanies, although the GDR no longer existed by the time of the PQ.

Canzonetta from The Persians (Canzonetta, studio da “I Persiani” di Eschilo)

Daniela Dal Cin (Italy)
Costume Design

The play Canzonetta from The Persians by Aeschylus in some ways continued the work started with
Una giostra: l’Agamennone staged in 1988. Canzonetta from The Persians is a study about the ancient
Greek tragedy to discover the original purpose to make theatre.
Here, the synthesis between audience and actors and stage was stronger, and it was made
possible by the designs of Scenic and Costume Designer Daniela Dal Cin. The characters were still
stranger, and it was impossible to distinguish between human, animal, or thing, which was made
possible by the peculiarity of the costumes.

19
 The Comedy of Errors
Shaun Gurton & Bronwyn Jones (Australia)
Set & Costume Design
This intriguing production played out in front of a beautiful blue
cloudscape, on a set by Shaun Gurton, inspired by the work of Surrealist
painter René Magritte, inhabited by Shakespeare’s characters, stylishly
clothed by Bronwyn Jones.
Gurton, on his design:
“The Comedy of Errors and Magritte may seem strange company. But
Magritte’s work focussed on the re-examination of the mundane, the
juxtaposition of unrelated objects, or the confining of identifiable matter
in an alien form to titillate our perception of the world. He seemed the
perfect artist to redefine for us the world of Ephesus, a world in which
the mundane is taken for magic, and the rational for insane, a world
where men and women desperately seek out their alter ego, their ‘better
part’ as a confirmation of their identity, in which under their very noses
something patently obvious and wonderful is taking place. By setting the
play in the 1920s, we were also able to draw on the rise of the middle
classes, the conservatism of new wealth, and the post-war need to put
life in order. Running close on its heels, a revolution was happening,
a revolution of the mind. Here was the world of Freud, Erik Satie,
Stravinsky, Max Ernst, Dali, Apollinaire, the Dadaists, Jarry, Duchamp.
Everything in the arts was being questioned, and anarchy was in the air.
And so we found ourselves in an Ephesus where anything is possible
and this most improbable of stories is justified by its own mad logic.”

20
Deshima
Ping Chong + Company (Canada/USA)
Set, Costume, & Lighting Design

Ping Chong + Company’s theatrical work addresses important cultural

and civic issues of our time through puppetry, dance, projections,
documentary theatre as well as other experimental forms. Deshima was
an example of the dynamic legacy of contact starting in the 16th century
between Eastern and Western societies. Historic incidents along with
archival research inspired the choreographic, visual, and aural experience
created in this site-specific production, which used a moving riser system
to transport the audience between the two performance installations.
The often bloody legacy that occurred as a result of the Dutch Traders’
arrival in Japan and their subsequent exploration of the East in the 16th
century was presented with projections, soundscapes, and both spoken
and projected text which were woven into European, Asian, American,
and Contemporary dance.
Deshima was originally produced by the Mickery Workshop as part of
the 1990 SpringDance Festival In Holland. It subsequently received its
American premiere at La MaMa E.T.C in January 1993. These images
document both productions.

21
Maastricht Treaty takes effect,
formally establishing the
European Union • Islamic
fundamentalists bomb World
Trade Center parking garage
• Bombs explode in Bombay,
India, killing 300 • Fighting
erupts between Muslims
and Croats in Bosnia • Irish
Republican Army explodes
massive bomb in the heart of
the City of London • Russian

1993
Nuclear Accident at Tomask
7 • The US and Soviet Union
sign Start II calling for bilateral
reduction of strategic nuclear
weapons • The North American
Free Trade Agreement (NAFTA)
between Mexico, Canada, and
the United States signed into
law • Yitzhak Rabin (Israel) and
Yasser Arafat (PLO) sign peace
agreement on White House
lawn • Brush fires in Australian
destroy world’s second largest
national park • Bill Clinton
inaugurated as 42nd US
President • Aeroflot starts non-
stop flights between Moscow
and NYC • Two former California
police officers convicted of
violating civil rights of beaten
motorist Rodney King • Tom
Stoppard’s Arcadia premieres
in London • The World Wide
Web launched at CERN • World
Health Organization estimates
14 million people worldwide
infected with the AIDS virus •
Slovakia gains independence
when Czechoslovakia divides
into Czech Republic and
Slovakia • Patricia Fraser named
Artistic Director of School
of Toronto Dance Theatre
• Space Shuttle Endeavour
mission launched to repair
Hubble Space Telescope • First
cloning of a human embryo
by two American scientists
• Maastricht Treaty takes
effect, formally establishing
 RICHARD TERMINE, COSTUMES: DOMINIQUE LEMIEUX © 2007 CIRQUE DU SOLEIL MATT BEARD, COSTUMES: DOMINIQUE LEMIEUX © 2012 CIRQUE DU SOLEIL

60
MATT BEARD, COSTUMES: DOMINIQUE LEMIEUX © 2012 CIRQUE DU SOLEIL RICHARD TERMINE, COSTUMES: DOMINIQUE LEMIEUX © 2007 CIRQUE DU SOLEIL
 Mystère
Michel Crête, Dominique Lemieux, Nathalie Gagné,
Luc Lafortune (Canada)
Set, Costume, & Lighting Design

Mystere holds the distinction of being the first permanent

Cirque du Soleil show in Las Vegas. Opening on Christmas Eve
1993 in a specially designed theatre at the Treasure Island Hotel
& Casino, Mystere, according to a 2013 report, has played to an
estimated audience of more than 12 million spectators over the
course of its 20-year run (to that date).
The design of the production was dominated by circles, and
this motif served to reflect one of the major themes of the
production: The circle of life. At the show’s finale, a giant
© CIRQUE DU SOLEIL

inflatable rainbow colored snail (unofficially dubbed Alice)

served to symbolize the pace of life.
The 120x70-foot stage featured a canopied dome and a
28-foot turntable that had the ability to rotate up to ten
revolutions per minute. A 15-foot-long, six-foot-diameter taiko
drum — lowered from the ceiling during one of the segments
— had to be brought in during the construction of the theatre
because of its sheer size.
The Las Vegas Review-Journal awarded Mystere the Best
Production Show in Las Vegas eight times.
© CIRQUE DU SOLEIL
© CIRQUE DU SOLEIL

61
 Machinal
Ian MacNeil (UK)
Set Design

MacNeil, on his design:

“Machinal is a play which saw the dominating patriarchal culture as a machine which disregards real human
needs. We realised that the Lyttelton itself is a machine that is sort of old and modern at the same time. We
attempted to make the production look both undesigned (a stripped empty stage) and yet overwhelming.”
This remarkable production was probably the first to make use of the total flexibility of the National Theatre’s
Lyttelton stage, using its hydraulic lifts to the full. The production won a 1994 Olivier award for Best Revival.

64
Saint Joan
Cameron Porteous (Canada)
Set & Costume Design

The 1993 production of Saint Joan was an

exemplar of the Shaw Festival under the artistic
direction of Christopher Newton at its absolute
finest. With the Bosnian war in the headlines
every day that summer, the production was set
as a modern military campaign. The director’s
aim was to “get rid of the pageantry” and “take
away the comfort of distance.” The trial scene
at the end was riveting, with Joan chained
to a stool downstage, facing away from the
audience, with a close-up shot of her face on
the huge television monitors that surrounded
the proscenium.For Michael Morrison, writing
in the Village Voice (New York), it was “as
exciting a Shavian production as one could
hope to see.”

59
Earthquake hits Gujarat, India,
causing more than 20,000
deaths • British and US forces
carry out bombing raids to
disable Iraq’s air defense
network • US refuses to sign
Kyoto Agreement on Climate
Change • IRA dismantles its
weapons arsenal after years of
fighting • 9/11: Hijackers crash
two planes into the World
Trade Center in New York City,

2001
third aircraft into Pentagon,
fourth plane crashes into a
rural field in Pennsylvania,
following passenger resistance
• US invades Afghanistan,
marking the beginning of the
US “War on Terrorism” • Enron
files for Chapter 11 bankruptcy
protection • 126 people killed in
stampede at football game in
Ghana • Fire in tunnel joining
Switzerland and Italy through
the Alps kills 39 • Leaning Tower
of Pisa reopens after 11 years of
work to stop it falling over • Tony
Blair elected for second term as
British prime minister • General
Pervez Musharraf takes power,
assuming role of president
in Pakistan; bans opposition
party political rallies • Foot and
Mouth Disease Is found In UK
after 20 years • Richard C. Reid,
the “shoe bomber,” attempts to
blow up an American Airlines
plane • Humanitarian crisis
of epic proportions occurs
in Congo with more than 16
million Congolese starving •
Wikipedia, the “open” online
encyclopedia, goes online
• Mars Odyssey spacecraft
reaches Mars • Apple Computer
releases iPod • Remains of
what may be the oldest ancient
human are found in Ethiopia,
estimated to be 5.5 million years
old • Unmanned solar aircraft
Helios reaches a record height
of 18 miles above the earth •
 Sweeney Todd:
The Demon Barber of Fleet Street
Peter England (Australia)
Set Design

Opera Australia’s stand-out production of

Sweeney Todd toured nationally and had several
seasons in Sydney. The centerpiece of the set,
a large steam boiler object that screamed and
smoked, formed the backdrop to most of the
scenes and rotated to create locations from the
barber shop to the lunatic asylum. This device
not only allowed the action to move quickly, but
spoke to the stratified, densely populated city
life associated with the rise of the Industrial Age.
The set elements, rusty and menacing, provided
crooks with crevices and tunnels for their evil
activities. The motif of pressurized transformation
was continued in the costumes, with Mrs Lovett’s
increasingly corseted form indicating the passage
of time and growing wealth.
“It’s hard to imagine a more effective or
impressive design. [Scenic Designer] Peter
England’s subterranean world of dank sewers and
rusting Satanic Mills made exceptional use of the
Opera Theatre stage. (For once, claustrophobia
was a design decision, not merely a limitation of
the venue!)” (Australian Financial Review, 29-30
Sep 2001).

210
Copenhagen
Jorge Ballina (Mexico)
Set Design

Ballina, on his design:

“A floating elliptical curved platform provided the place where
the characters lived beyond death. The painted floor represented
the graphics of a ‘cloud chamber’ where the characters moved
as subatomic particles, leaving marks from their trajectories and
collisions. At the same time it was a blackboard where historical
events were written and rewritten in their different versions as Bohr
and Hesienberg tried to remember them.”
Jorge Ballina graduated in architecture at Universidad Iberoamericana
in Mexico City in order to work as a scenic designer. He studied and
collaborated with set and lighting designer Alejandro Luna. He is a
member of the Mexican National System of Art Creators.
Ballina was awarded the Gold Medal for Set Design at World Stage
Design 2005.

211
 Hudson, on his design:
“The tyranny of Tamerlano (Tambourlaine) was the central theme of
this production, symbolized by a giant foot dominating a globe. The
set was all white, punctuated at key moments with flashes of brilliant
color. The costumes were 18th-century Turkish, sharply silhouetted.”
Scenic and Costume Designer Richard Hudson is an award-winning
designer. His honors include a Tony Award for the set design of
The Lion King, the Gold Medal for set design at the 2003 Prague
Quadrennial, and the Olivier Award for the 1988 season at the Old Vic.
This design for Tamerlano was selected by the international jury for
inclusion in the Gallery Exhibit of World Stage Design 2005 presented
in Toronto. His designs have been seen at The Royal Opera, English
National Opera, The Metropolitan Opera, The National Theatre, The
Royal Shakespeare Company, The Royal Court, and The Young Vic as
well as numerous others.

212
Tamerlano
Richard Hudson (Zimbabwe/UK)
Set & Costume Design

213
 Antigone (Antygona)
Paweł Dobrzycki (Poland)
Set Design

Dobrzycki’s design for Antigone was selected by an international jury for inclusion in the Gallery Exhibit at World Stage Design 2005.
Antigone was part of a trilogy that included Seven Against Thebes and Oedipus the King created by Director Yorgos Kimoulis and Designer Paweł Dobrzycki
at Epidaurus. In this production a group of refugees from the war arrive in an empty space, dragging their belongings on carts. They pull out costumes
salvaged from the war, use the carts to build a stage, and put on a “sacred” performance to thank the gods for letting them escape death.

Don Giovanni
Vladimír Čáp (Slovakia)
Set Design

Vladimír Čáp has been the resident set designer at Jonas Zaborsky Theatre (Presov)
for more than two decades and a freelance artist working mainly with Slovak Theatres,
including the Slovak National Theatre, both opera and drama. His work has been
exhibited at the Piestany Slovakia, the Novi Sad Scenography Triennial, and several
times at the Prague Quadrennial. This design for Don Giovanni was selected by the
international jury for inclusion in the Gallery Exhibit at World Stage Design 2005 in
Toronto, Canada.

214
Hamlet
Milon Kalis (Czech Republic)
Set & Costume Design

Kalis, on his design:

“The basic idea is to create a space that could change and develop
according to the drama. I found a material that had many good
qualities: it was flexible, amiable to light, good for transporting, and
cheap. I used lots of butcher paper with many dramatic expressions. It
was the dividing line between life and death. The paper was cut, torn,
and written on as the drama developed, revealing the characters and
their relationships. It was bold and clean at the beginning of the play,
but there remained only fragments of it by end of the story.”
Milon Kalis is a Czech set designer who was a student of Josef Svoboda
and served as his assistant for ten years. Kalis was awarded the 2002
Independent Theatre Award for Lit Moon’s Hamlet. The design was
selected by the international jury for inclusion in the Gallery Exhibit at
World Stage Design 2005.

215
PRODUCTION CREDITS
[16] [18] [21] [26-27]
Largo Desolato The Grapes of Wrath Deshima An Ardent Heart (Coeur ardent)
Ivo Žídek (Czechoslovakia/Czech Republic) Kevin Rigdon (USA) Ping Chong + Company (Canada/USA) Jean-Marc Stehlé (Switzerland/France)
Set Design Set & Lighting Design Set, Costume, & Lighting Design Set & Costume Design
Company: Divadlo Na zábradlí (Theatre on Company: Steppenwolf Theatre Company Company: Ping Chong + Company Company: Théâtre National de Bretagne, co-
the Balustrade) Venue: Cort Theatre Venue: Springdance Festival at the production with Maison des Arts de Créteil
Location: Prague, Czechoslovakia Location: New York City, New York, USA Sterrenbos Studio (site specific) & Théâtre Vidy-Lausanne
Opening/First Night: 9 April 1990 Opening/First Night: 22 March 1990 Location: Utrecht, The Netherlands Venue: Théâtre National de Bretagne
[Prior to its opening on Broadway, The Opening/First Night: 28 April 1990 Location: Rennes, France
Author: Václav Havel
Grapes of Wrath was presented at American premiere: La MaMa E.T.C (New Opening/First Night: 17 October 1991
Scenic Designer: Ivo Žídek
Steppenwolf Theatre (Chicago, September York City, January 1993)
Costume Designer: Irena Greifová Author: Alexander Ostrovski
1988), La Jolla Playhouse (San Diego, May
Director: Jan Grossman Creator: Ping Chong & Michael Matthews; French Text: André Markowicz
1989), and the Royal National Theatre
also Christel Gouweleeuw & Jan Zoet Scenic Designer: Jean-Marc Stehlé
Contributing Researcher: Denisa Stastna (London, June 1989)]
Scenic Designer: Ruud van der Akker, Ed Costume Designer: Jean-Marc Stehlé
Image Credit: Ivo Žídek, Viktor Kronbauer Author: Frank Galati; based on the novel by Bezem, Robert Bosch, Klaas Paradies (NL); Lighting Designer: Michel Duverger
John Steinbeck Watoku Ueno and Ping Chong (US) Director: Benno Besson
Scenic Designer: Kevin Rigdon Costume Designer: Adreienne Henriet,
Contributing Researcher: Jean Chollet &
[16] Costume Designer: Erin Quigley Christel Gouweleeuw, Coby Bruijne (NL);
Marcel Freydefont
Mehmed the Second (Maometto II, II. Lighting Designer: Kevin Rigdon Carol Ann Pelletier (US)
Sound Designer: Rob Smith Lighting Designer: Johan Vonk (NL); Thomas Image Credit: Jean-Marc Stehlé, Alain Dugas,
Mehmed)
Composer: Michael Smith Hase (US) Théâtre National de Bretagne à Rennes
Osman Şengezer (Turkey)
Set & Costume Design Director: Frank Galati Sound Designer: Robert Bosch (NL); Brian
Hallas & Robert Bosch (US)
Company: Istanbul State Opera and Ballet Contributing Researcher: Eric Fielding
Projection & Video: Chiel Snijders (NL); Jan [28]
Venue: Atatürk Cultural Centre Image Credit: Kevin Rigdon, © Michael Hartyley & Ping Chong (US) Waiting for Godot (En Attendant Godot,
Location: Istanbul, Turkey Brosilow Backdrop Design: Henry Verboket, with Esperando Godot)
Opening/First Night: 17 October 1990 Richard Berlin Mayer Daniela Thomas (Brazil)
Author: Cesare della Valle Director: Ping Chong Set Design
Composer: Gioachino Rossini [19] Choreographer: Ping Chong
Venue: Residenz Theatre
Scenic Designer: Osman Şengezer The Robbers (Die Räuber) Contributing Researcher: Mike Monsos Location: Munich, Germany
Costume Designer: Osman Şengezer Bert Neumann (GDR/Germany)
Image Credit: Bob van Dantzig (NL), Opening/First Night: 1991
Director: Gürçil Çeliktaş Set Design
Conductor: Selman Ada Brendan Bannon (US) Author: Samuel Beckett
Venue: Volksbuehne Berlin
Scenic Designer: Daniela Thomas
Contributing Researcher: Evcimen Perçin Location: Berlin, Germany
Costume Designer: Daniela Thomas
Image Credit: Osman Şengezer Opening/First Night: 21 September 1990 [24] Lighting Designer: Wagner Pinto
Author/Creator: Friedrich Schiller As You Like It Director: Gerald Thomas
Scenic Designer: Bert Neumann Nick Ormerod (UK) Contributing Researcher: J. C. Serroni
[17] Director: Frank Castorf Set & Costume Design
Image Credit: Daniela Thomas, J. C. Serroni
Tribute to Amadeus (Amadeus Contributing Researcher: Karin Winkelsesser Company: Cheek By Jowl
Monumentum) Venue: Lyric Theatre, Hammersmith!
Image Credit: Akademie der Kuenste Berlin/
Nenad Fabijanić & Ika Škomrlj (Croatia) Location: London, England, UK
Archive [29]
Set & Costume Design Opening/First Night: 3 December 1991
Iphigenia (Iphigénie)
Company: Croatian National Theatre Author: William Shakespeare Yannis Kokkos (France)
Venue: Teatar San Carlo [19] Scenic Designer: Nick Ormerod Set & Costume Design
Location: Zagreb, Croatia Costume Designer: Nick Ormerod
Canzonetta from The Persians (Canzonetta,
Opening/First Night: 1990 Director: Declan Donnellan Company: Comédie-Française
studio da “I Persiani” di Eschilo)
Venue: Comédie-Française
Composer: Wolfgang Amadeus Mozart Daniela Dal Cin (Italy) Contributing Researcher: Ian Herbert Location: Paris, France
Creator: Milko Šparemblek Set Design
Image Credit: Nick Ormerod; photos by Opening/First Night: 19 October 1991
Scenic Designer: Nenad Fabijanić
Company: Marcido Marcidorjs e Famosa Douglas H Jeffery, Victoria & Albert Museum
Costume Designer: Ika Škomrlj, Dženisa Author/Creator: Jean Racine
Mimosa
Medvedec Scenic Designer: Yannis Kokkos
Venue: Teatro Out Off
Sculpture: Slavomir Drinković Costume Designer: Yannis Kokkos
Location: Milano, Italy [25]
Director: Milko Šparemblek Lighting Designer: Guido Levi
Opening/First Night: May 1990
Choreographer: Milko Šparemblek Blue Man Group: Tubes Director: Yannis Kokkos
Author: da Eschilo Kevin Joseph Roach & Brian Aldous (USA)
Contributing Researcher: Ivana Bakal & Contributing Researcher: Marcel Freydefont
Scenic Designer: Daniela Dal Cin Set & Lighting Design
Martina Petranovic
Costume Designer: Daniela Dal Cin Image Credit: Yannis Kokkos, Daniel Cande,
Image Credit: Damir Fabijanić, Nenad Company: Blue Man Group Comédie Française
Director: Marco Isidori
Fabijanić Venue: Astor Place Theatre
Contributing Researcher: Daniela Sacco Location: New York City, New York, USA
Image Credit: Daniela Dal Cin Opening/First Night: 11 November 1991 [29]
Creator: Matt Goldman, Phil Stanton & Chris Madam Mao’s Memories
Wink Tang Da Wu (Singapore)
[20] Scenic Designer: Kevin Joseph Roach Set & Lighting Design
The Comedy of Errors Lighting Designer: Brian Aldous
Associate Lighting Design: Stan Pressner Company: Theatreworks
Shaun Gurton & Bronwyn Jones (Australia)
Costume Designer: Lydia Tanji & Patricia Venue: The Black Box
Set & Costume Design
Murphy Location: Singapore
Company: State Theatre Company of South Sound Designer: Raymond Schilke Opening/First Night: 21 March 1991
Australia Computer Graphic Designer: Kurisu-Chan Author: Henry Ong
Venue: The Playhouse Composer: Matt Goldman, Phil Stanton & Composer: Mark Chan
Location: Adelaide, Australia Chris Wink Scenic Designer: Tang Da Wu & Ong Keng
Opening/First Night: 28 April 1990 Jell-O Consultant: Jean-Claude Nedelec Sen
Author: William Shakespeare Artistic Coordinator: Caryl Glaab Lighting Designer: Michelle Lim
Composer: Ian McDonald Director: Marlene Swartz Sound Designer: Koh Joo Kim
Scenic Designer: Shaun Gurton Contributing Researcher: Kristina Tollefson Director: Ong Keng Sen
Costume Designer: Bronwyn Jones Choreographer: Rennie Chong
Lighting Designer: Mark Shelton Image Credit: Blue Man Group, Ken Howard,
Paul Kolnik Contributing Researcher: Justin Hill
Sound Designer: Michael McCabe
Director: Simon Phillips Image Credit: Theatreworks
Contributing Researcher: Madeline Taylor
Image Credit: Shaun Gurton, Performing
Arts Museum SA

389
 [30]  [34] [41] [43]
Lulu Portuguese Letters (Cartas Portuguesas) Counsellor at Law Hamlet
Leslie Frankish & Robert Thomson (Canada) Fernando Melo da Costa (Brazil) Cameron Porteous (Canada) & Kevin Georgi Alexi-Meskhishvili (Georgia/USA)
Set, Costume & Lighting Design Set Design Lamotte (Canada) Set, Costume, & Lighting Design
Set, Costume & Lighting Design
Company: The Shaw Festival Company: Bia Lessa Company Venue: Riverside Studios
Venue: Festival Theatre Venue: Centro Cultural Banco do Brasil Company: The Shaw Festival Location: London, England, UK
Location: Niagara-on-the-Lake, Ontario, Location: Rio de Janeiro, Brazil Venue: Festival Theatre Opening/First Night: 15 September 1992
Canada Opening/First Night: 29 August 1991 Location: Niagara-on-the-Lake, Ontario,
Author: William Shakespeare
Opening/First Night: 23 May 1991 Canada
Author: Mariana Alcoforado, Júlio Bressane Composer: Giya Kancheli
Opening/First Night: 29 May 1992
Author: Frank Wedekind, adapted by Peter Scenic Designer: Fernando Melo da Costa Scenic Designer: Georgi Alexi-Meskhishvili
Barnes Costume Designer: José Augusto Bicalho Author: Elmer Rice Costume Designer: Georgi Alexi-
Composer: Christopher Donison Lighting Designer: Paulo Pederneiras Scenic Designer: Cameron Porteous Meskhishvili
Scenic Designer: Leslie Frankish Sound Designer: Dany Roland Costume Designer: Cameron Porteous Lighting Designer: Georgi Alexi-Meskhishvili
Costume Designer: Leslie Frankish Director: Bia Lessa Lighting Designer: Kevin Lamotte Director: Robert Sturua
Lighting Designer: Robert Thomson Contributing Researcher: J. C. Serroni Director: Neil Munro
Contributing Researcher: Ian Herbert
Director: Christopher Newton
Image Credit: Bia Lessa Archive Contributing Researcher: Peter McKinnon
Choreographer: Caroline Smith Image Credit: Georgi Alexi-Meskhishvili,
Image Credit: Cameron Porteous ©Donald Cooper/photostage.co.uk
Contributing Researcher: Peter McKinnon
Image Credit: Leslie Frankish [35]
Time and the Room (Die Zeit und das [41] [44-45]
Zimmer, Le Temps et la Chambre)
Hamletmachine (Die Hamletmaschine) Kiss of the Spider Woman
[31] Richard Peduzzi & Dominique Bruguière
Shigeo Okajima (Japan) Jerome Sirlin (USA)
(France)
La Bête Set Design Set & Projections Design
Set & Lighting Design
Richard Hudson (Zimbabwe/UK) & Jennifer
Company: Tokyo Theatre Ensemble Company: Livent Inc.
Tipton (USA) Company: Festival d’Automne
Venue: House of Brecht Theatre Venue: Shaftsbury Theatre
Set, Costume, & Lighting Design Venue: Odéon-Théâtre de l’Europe
Location: Tokyo, Japan Location: London, England, UK
Location: Paris, France
Venue: Eugene O’Neill Theatre Opening/First Night: September 1992 Opening/First Night: 20 October 1992
Opening/First Night: 4 October 1991
Location: New York City, New York, USA Author: Heiner Müller Subsequently produced on Broadway
Opening/First Night: 10 February 1991 Author: Botho Strauss, translated by Michel Composer: Shinichiro Ikebe (Broadhurst Theatre, 3 May 1993)
Vinaver Scenic Designer: Shigeo Okajima
Author: David Hirson Composer & Lyricist: John Kander & Fred
Sound Designer: Philippe Cachia Lighting Designer: Sumio Yoshii & Ryoichi
Scenic Designer: Richard Hudson Ebb
Scenic Designer: Richard Peduzzi Owashi
Costume Designer: Richard Hudson Author: Terrence McNally, based on the
Costume Designer: Moidele Bickel Director: Tsunetoshi Hirowatari
Lighting Designer: Jennifer Tipton novel by Manuel Puig
Lighting Designer: Dominique Bruguière
Sound Designer: Peter Fitzgerald Contributing Researcher: Kazue Hatano Scenic Designer: Jerome Sirlin
Wig Designer: Kuno Schlegelmilch
Director: Richard Jones Costume Designer: Florence Klotz
Makeup Designer: Kuno Schlegelmilch Image Credit: Shigeo Okajima
Lighting Designer: Howard Binkley
Contributing Researcher: Jesse Belsky & Eric Artistic Collaboration: Margot Capelier,
Projection Designer: Jerome Sirlin
Fielding Raoul Billerey
Sound Designer: Martin Levan
Image Credit: Joan Marcus, Richard Hudson Director: Patrice Chéreau [42]
Conductor: Jeffrey Huard
Contributing Researcher: Jean Chollet & Noordung Prayer Machine (Molitveni Stroj Choreographer: Rob Marshall (London);
Marcel Freydefont Noordung) Vincent Paterson & Rob Marshall (New York)
[32-33] Vadim Fiškin (Russia/Slovenia) Director: Harold Prince
Image Credit: Ros Ribas, Théâtre de l’Odéon
Set Design
The Will Rogers Follies: A Life In Review Contributing Researcher: Jan Chambers
Tony Walton, Willa Kim, Jules Fisher, & Peggy Company: Opera & Ballet of the Slovene
Image Credit: Jerome Sirlin
Eisenhauer (USA) [38-39] National Theatre Ljubljana
Set, Costume, & Lighting Design Venue: Opera House Ljubljana; later
An Inspector Calls
Cankarjev Dom
Venue: Palace Theatre Ian MacNeil (USA/UK) & Rick Fisher (USA/ [46]
Location: Ljubljana, Slovenia
Location: New York City, New York, USA UK)
Opening Night: 23 December 1992 A Midsummer Night’s Dream
Opening/First Night: 1 May 1991 Set, Costume, & Lighting Design
Michael Levine (Canada)
Composer: Cy Coleman Author/Constructor: Dragan Živadinov
Company: National Theatre Set & Costume Design
Librettist: Jordan Randželović
Author: Book by Peter Stone; Lyrics by Betty Venue: National Theatre, Lyttelton Stage
Scenic Designer: Vadim Fiškin Company: National Theatre of Great Britain
Comden and Adolph Green; Inspired by the Location: London, England, UK
Costume Designer: Breda Kralj Venue: Olivier Stage
words of Will Rogers and Betty Rogers Opening/First Night: 11 September 1992
Mask Designer: Aljana Hajdinjak Location: London, England, UK
Scenic Designer: Tony Walton
Author: J.B. Priestley Lighting Designer: Marko Miklič Opening/First Night: 9 July 1992
Costume Designer: Willa Kim
Composer: Stephen Warbeck Sound Designer: Dušan Starin
Lighting Designer: Jules Fisher & Peggy Author: William Shakespeare
Scenic Designer: Ian MacNeil Choreographer: Vladimir Bassara
Eisenhauer Scenic Designer: Michael Levine
Costume Designer: Ian MacNeil Director: Dragan Živadinov
Projection Designer: Wendall K. Harrington Costume Designer: Michael Levine
Lighting Designer: Rick Fisher
Sound Designer: Peter Fitzgerald Contributing Researcher: Primož Jesenko Lighting Designer: Jean Kalman
Director: Stephen Daldry
Director: Tommy Tune Sound Designer: Christopher Johns
Image Credit: Breda Kolar Sluga
Choreographer: Tommy Tune Contributing Researcher: Ian Herbert Director: Robert Lepage
Contributing Researcher: Del Unruh Image Credit: Ivan Kyncl, Ian MacNeil Contributing Researcher: Peter McKinnon
Image Credit: Fisher Dachs Associates, Tony [42] Image Credit: Michael Levine
Walton, Willa Kim Noises Off (Iza kulisa)
[40]
Darko Nedeljković (Serbia)
Henry 8: a sexual sermon Set Design
[34] Dorita Hannah (New Zealand)
Company: Atelje 212
Set & Costume Design
Personality Transfer (Transfer de Personalitate) Location: Belgrade, Serbia
Ion Puiu (Moldova) Company: Theatre At Large Opening/First Night: 29 December 1992
Set, Costume, & Lighting Design Venue: Artspace Gallery
Author: Michael Frayn
Location: Auckland, New Zealand
Company: Vasile Alecsandri National Theatre Composer: Đuro Sanader
Opening Night: 1992
Location: Beltsy, Republic of Moldova Scenic Designer: Darko Nedeljković
Opening/First Night: 3 December 1991 Creator: Theatre At Large Costume Designer: Zora Mojsilović
Composer: David Downes Lighting Designer: Radomir Stamenković
Author: Dimitru Solomon
Scenic Designer: Dorita Hannah Sound Designer: Đuo Sanader
Scenic Designer: Ion Puiu
Costume Designer: Dorita Hannah Director: Alisa Stojanović
Costume Designer: Ion Puiu
Lighting Designer: Vera Thomas & Paul
Lighting Designer: Ion Puiu Contributing Researcher: Radivoje Dinulovic
O’Brien
Director: Anatol Pinzaru
Director: Anna Marbrook & Christian Penny Image Credit: Darko Nedeljković
Contributing Researcher: Larisa Turea
Contributing Researcher: Sam Trubridge
Image Credit: Larisa Turea
Image Credit: Courtesy of Dorita Hannah
390
INDEX
FEATURED DESIGNERS Choa, Gillian 219 Fillion, Carl 112 I
Chocholoušek, Martin 360 Fischer, Kai 345 Ichikawa, Kuniyoshi 290
A Choi, Hyoung-Oh 138 Fisher, Jules 32, 150 Infante, Mio 276
Abe, ‘Biodun 82, 114 Chong, Ping 21 Fisher, Mark 332 Ishii, Mitsuru 267
Aitken, Iain 55 Cho, Shu-ming 273 Fisher, Rick 38, 241 Ishii, Yasuhiro 65
Akerlind, Christopher 378 Christie, Bunny 207 Fiškin, Vadim 42, 172 Ivars, Ramón B. 197
Aldous, Brian 25 ChunQi, Han 225 Forman, Matěj 204
Alexi-Meskhishvili, Georgi 43 Cibula-Jenkins, Nan 258 Fox, John 48 J
Amand, Philippe 228, 291 Ciller, Jozef 311 François, Guy-Claude 171 Jänes, Pille 239
Angeli, Angelos 236 Cin, Daniela Dal 19 Frankish, Leslie 30, 47 Jarnuszkiewicz, Marcin 299
Antemir, Puiu 350 Cohen, Russell 130 Fredrikson, Kristian 260 Jeziorny, Richard 334
Antonopoulos, Stavros 62 Comaroff, Joshua 357 Freibergs, Andris 152 JiangTao, Luo 180
Antonucci, Luca 343 Cooper, Damien 260 French, Anna 314 Jóhannsson, Sigurrjón 77
Aouni, Walid 367 Čorba, Milan 105 Friedländer, Christian 196 Jones, Bronwyn 20
Aranda, Joaquin Jose Z. 216 Corrigan, Peter 70, 73 Furr-Soloman, Connie 184 Jones, Christine 126
Ashkar, Rafik 187 Crescenti, Felipe 120 Jones, Howard C. 344
Atlagic, Angelina 272 Crête, Michel 60, 143 G Jones, Richard 161, 218
Crowley, Bob 50 Gabel, Jacques 194 Joris, Eric 234, 262
Csanadi, Judit 262 Gabriel, Georgette 122 Jovanovic, Tamara 251
B
Csanádi, Judit 82 Gagné, Nathalie 60
Bagnall, Catherine 65
Curry, Michael 118, 332 Galán, Graciela 48, 269
Baldassari, Mike 144 K
Curtis, Stephen 340 Gaudin, Yvan 112
Ballina, Jorge 190, 211 Kafkarides, Harris 309
Gerckens, TJ 249 Kalabić, Marija 265
Banham, Simon 315, 377
Bargilly, Andy 259
D Gillibrand, Nicky 271 Kalanova, Mira 186
da Costa, Fernando Melo 34 Gonzales, Gino 322, 345 Kalis, Milon 215
Barkhin, Sergei 137
D’amore, Carmine 198 Gora, Afrim 338 Kanai, Shunichiro 253
Berlovitz, Sonya 238
DanLin, Zhou 268 Grant, Tracy 55 KangMei, Zhang 69
Bernal, Salvador 120, 357
DaQing, Sun 110 Guangjian, Gao 376 Kapelyush, Emil 149
Berry, Gabriel 71
Davis, Adam Olson 308 Gurton, Shaun 20 Karbe, Max 331
Bezáková, Helena 193
Davison, Peter 134 Karjunen, Kimmo 248
Bin, Li 330, 373
de Anchieta, José 180 H Katsouri, Elena 329
Blackburn, Stephen 277
Delarozière, François 374 Haas, Jean 355 Kavaldjieva, Nevyana 146
Blumenfeld, Lilja 307
de la Torre, Guillermo 93 Haggag, Mahmoud 167 KeDong, Liu 260
Borovsky, David 307
Devlin, Es 361 HaiWei, Huang 165 Keh-hua, Lin 63
Bourek, Zlatko 365
De Volder, Eric 261, 292 Hall, Peter Ruthven 192 Kerr, Mary 86, 148, 268
Braun, Marek 132
Dias, José 68 Hamai, Koji 128, 281 Ker-Shing, Ong 357
Braunschweig, Stéphane 385
Dinghao, Zhang 255 Hanáková, Sylva Zimula 232 Kharikov, Yuri 255
Brotherston, Lez 124
Dobrzycki, Paweł 214 Hannah, Dorita 40, 105 Kimak, Bridget 250
Brown, Paul 200
Downing, Richard 217 Hatano, Kazue 83, 90 Kim, Willa 32
Bruguière, Dominique 35
Dudley, William 302 Hatley, Tim 88 Kitschen, Daphne 219, 342
Brun, Gilone 165
Dündar, Hakan 320 Henderson, Mark 200 Kobayashi, Yujin 278
Buhagiar, Dragos 266, 338
Dvorak, Daniel 294 Heyvaert, Pol 111 Kokkos, Yannis 29
Higgins, Mark Lewis 276 Koleichuk, Anna 103
C
Caban, Šimon 263
E Hilferty, Susan 305 Koleichuk, Vyacheslav 103
Ehnes, Barbara 330 Hill, Justin 128, 315 Kolenc, Aljoša 99
Calzadilla, Fernando 80, 103
Eichbauer, Hélio 201, 373 Hojnik, Branko 231 Kongshaug, Jesper 281
Čáp, Vladimír 214
Eisenhauer, Peggy 32, 144, 150 Holder, Donald 118 Kontek, Anna 185
Cardia, Gringo 54
El Gharbawy, Mohamed 252 Hong, Kuo Jian 115 Kresnik, Johann 170
Carinhas, Nuno 380
El Halwagy, Nabil 383 Horio, Yukio 76, 133 Kudlička, Boris 160
Carpenter, Kim 162, 274
England, Peter 130, 202, 210 Howard, Pamela 254, 370 Kurzer, Edie 91
Çetinel, Kerem 336
Erayda, Naz 123 Huang, Yi-Ru 240, 354
Chambon, Alain 369
Eruzun, Uğur 123 Hudson, Richard 31, 118, 212 L
Chang, Tsan-tao 78, 147
Hui, Zhang 384 Lafortune, Luc 60, 143, 332
Cheng, Chia-yin 273
F Humalisto, Tomi 292 Lagarto, António 133
Chihuly, Dale 66
Fabijanić, Nenad 17, 230 Hwang, Youn-Hee 277 Lahoud, Mona 187
Chitty, Alison 246
Fernández, Tino 217 Hysaj, Nuhi 354 Lai, Xuan-wu 362
Chiu, Karin Shui-chun 288

417
 Lamotte, Kevin 41, 301 O Sen, Ong Keng 136 Viskari, Kimmo 368, 372
Lauwers, Jan 87 Ododo, Sunday 89, 382 Serroni, J. C. 67, 176, 224 Votava, Aleš 204
Lazaridis, Stefanos 69 Ohta, Hajime 72 Shebl, Hazem 164, 240
Lébl, Petr 87 Okajima, Shigeo 41 Sheng, Han 187 W
Lee, Ming-Cho 63 Ong, Jimmy 58 Sherin, Mimi Jordan 94 Walton, Tony 32
Lee, Tae-sup 360, 381 Ormerod, Nick 24 Shima, Jiro 221, 299 Wang, Austin 78, 147
Lee, Yu-Sheng 382 Ostling, Daniel 249 Shimakawa, Toru 289 Wang, Shi-Xin 376
Lemieux, Dominique 60, 143 Silver, Phillip 223 Ward, Anthony 98
LePage, Sue 301 P Simonen, Tarja 306 Wee, Mark 357
Levine, Michael 46, 131, 256, 352 Pakledinaz, Martin 94, 163 Sirlin, Jerome 44 Wei, Li 374
Levintza, Doina 72, 115 Palli, Margherita 348 Sissons, Narelle 163, 297 WeiZhong, Wang 235
Lin, Heng-Cheng 339 Papazoglou, Tolis 277 Škomrlj, Ika 17, 230 WenTong, Bian 244
Lin, Keh-Hua 251 Pappelbaum, Jan 252, 381 Smith, Christina 380 WenXin, Li 339
Li, Zeng 231, 376 Park, Dongwoo 138, 347 Smith, Rae 49 Wernicke, Herbert 171, 279, 321
Lobel, Adrianne 94, 386 Pavić, Branko 164 Snider-Stein, Teresa 162 Willmington, Sue 195, 356
Long, William Ivey 144 Pearce, Michael 73, 92 Sobota, Madeleine 318 Wonder, Erich 58
Long, Yan 62 Pedroso, Marcos 104, 189 Štefková, Kateřina 87 Wu, Tang Da 29
Loquasto, Santo 150 Peduzzi, Richard 35 Stehlé, Jean-Marc 26
Lord, Tracy Grant 316 Štěpánek, Jan 275
PeiRu, Miao 335 X
Lukka, Kati 280, 349 Petrusheva, Chayka 114 Strobbe, Jan 336
Xiang, Xu 109
Lu, Ma 310 Ping Chong + Company 21 Szczęśniak, Małgorzata 233
Xiaozhou, Liu 255
Lupa, Krystian 270 Polewka, Jan 108 XinGang, Wang 383
LvWei, Wang 349 Porai-Koshitz, Alexi 235 T XingLin, Liu 296
Lynch, Julie 304 Pormale, Monika 284 Tabacki, Miodrag 321
Lyne, Dany 183 Porteous, Cameron 41, 59 Takada, Ichiro 177
Y
Preková, Jana 367 Taymor, Julie 118
Yakunin, Sergei 89
M Puiu, Ion 34 Therrien, Marc Andre 205
Yeargan, Michael 378
MacNeil, Ian 38, 64 Thomas, Chantal 348
YongYing, Huang 329
Mądzik, Leszek 52 Q Thomas, Daniela 28
Manoledaki, Ioanna 169, 226 Qiao, Ji 261 Thompson, Mark 81
Z
Mantaka, Chryssa 364 QingShan, Zhang 366 Thomson, Brian 169
Zeke, Edit 127, 298
Marioge, Philippe 238, 269 Thomson, Robert 30, 47
Zeybek, Feyza 312
Martini, Ilir 181 TianFu, Yi 375
R ZhengPing, Zhou 231
Matásek, Petr 366 Tipton, Jennifer 31, 92, 134
Raad, Joanna 122 Žídek, Ivo 16
Mayer, Stefan 182 Tiramani, Jenny 265
Rabbit, Tony 81, 155 Zieglerova, Klara 293
McCallin, Tanya 227 Tobiáš, Egon 100
Ramicova, Dunya 386 Zielinski, Scott 315
McDonald, Antony 161, 218 Todd, Helen 195, 290
Raya, Mónica 245, 328
McLane, Derek 313 Toren, Roni 68, 178
Raytchinova, Marina 286
Medina, Marcio 198 Trubridge, Sam 326
Ribeiro, João Mendes 154
Medlin, Margie 346 Tsuchiya, Shigeaki 337
Rigdon, Kevin 18
Meller, Fred 220, 319 Tsukamoto, Satoru 337
Roach, Kevin Joseph 25
Members of the 2000 Olympic Tsypin, George 285
Design Team 202 Roberts, Richard 142
Tuffery, Michel 113
Meyer, Hartmut 220 Röhl, Angela 173
Tulinius, Martin 375
Mihaiu, Horatiu 172, 206 Rosalie 84
Turunen, Erika 310, 344
Møller, Bente Lykke 53 Rusínová, Zuzana Štefunková 100
Twist, Basil 156
Moore, Mary 142, 237 Rusín, Tomáš 153
Morita, Masako 166 Rybáková, Simona 263, 294
Ryott, Emma 218 U
Mumford, Peter 246 Uchiyama, Ben 196
Mydlarska-Kowal, Jadwiga 264 Ullyart, Kendra 54
S
N Sabounghi, Rudy 306
Sağıroğlu, Duygu 88, 110 V
Nedeljković, Darko 42 Vaillancourt, Marie-Chantale
Neumann, Bert 19, 350 Sarayoglu, Cevren 278
112, 332
Nishawa, Sonoyo 112 Sarayoğlu, Zeki 384
Valinen, Pirjo 168, 224
Nohno, Soichj 102 Sarti, Raymond 222
Vaněk, Joe 188, 199
Novák, Petr B. 351 Scape @ Massey 300
Verdonck, Benjamin 335
Nwadigwe, Charles 201, 369 Schavernoch, Hans 121
Verryt, John 111
Schenk, Thomas 312
Viebrock, Anna 244
Schofield, Tess 155
Vilella, Gabriel 53
Sekulić, Miljenko 157, 289
Villerot, Laurence 225
Şengezer, Osman 16

418
TITLES Black Box, The 338 Deshima 21 G
Black Medea 380 Destinies of Flowers in the Garā dzīve 284
Black, The 292 Mirror 136 Gate of the Apostles 366
1-9
Blasted 381 Dido a Aeneas 153 Gayri Resmi hurrem 312
15th Commonwealth Games, Open-
Blue Man Group: Tubes 25 Dido and Aeneas 153 Gier nach geld 350
ing Ceremony 86
Bodas del Cielo y el Infierno, Divoká kachna 367 Glass Menagerie, The 181
Las 245 Don Giovanni 178, 214, 298 Global Soul — The Buddha Project,
A
Bohème, La 218, 306 Dong Sheng and Lee 329 The 315
About Germany 164
Bone Flute 195 Don Quijote 197 Good Job 262
Achter ‘t eten 292
Bone of Contention 65 Don Quixote 197 Good Person of Sezuan, The 168
Adskata mashina 146
Book of Job, The 68, 104 Dooi Vogeltje 335 Good Soldier Schweik 320
After Eating 292
Boris Godunov 185 Dracula 272 Grace 377
A Gota D’água 224
Borrowed Light 344 Dreamcatcher 308 Grand Circus 110
Aida 167, 187
Brána apoštolů 366 Dream Hatched 240 Grande Magia, La 98
Akvabely 360
Brand 385 Dream Like a Dream, A 376 Grapes of Wrath, The 18
Alchemist, The 110
Breath 52 Dream of Red Mansions, A 339 Great Night, The 252
Alfonso and Estrella 348
Bulls the Challenge 113 Dreigroschenoper, Die 278 Great Swallow, The 335
Alfonso und Estrella 348
Búrka 204 Drop of Water 224 Greed 350
Al Om Shagaaa 383
Butterflies on the Hat 82 Drowning 162 Greek Passion, The 370
Alternative Roxelanne, An 312
Drums on the Dike 171 Guest 381
Alye parusa 204
C Du Shiniang 310 gute Mensch von Sezuan, Der 168
Amadeus Monumentum 17
Cabaret 144 Dyadya Vanya 347, 380
American Tragedy, An 386
A Mulher sem Pecado 201
Café 194 H
Andorra 109
Čajka 87 E Hamlet 43, 215, 307
Canzonetta from The Persians 19 École des femmes, L’ 238 Hamletmachine 41, 318
Antigona 115
Canzonetta, studio da “I Persiani” Ein Maskenball 161 Hamletmaschine, Die 41
Antigone 115, 214
di Eschilo 19 EL LiLA ALKaBiRA 252 Have I None 321
Antygona 214
Carousel 50 Empty Lunch-tin, The 162 Havfruen 375
Apocalypse 1:11 189
Cartas Portuguesas 34 En Attendant Godot 28 Having the Splash of Moon
Après manger 292
Casa de Bernarda Alba, La 80 Endgame 186, 339 Lights 90
Arcadia 152
Celestina, La 254 Esperando Godot 28 Heart of PQ, The 300
Ardent Heart, An 26
Cherry Orchard, The 105 Essence 361 Hedda Gabler 344
Arkādija 152
Child Dreams, The 68 Everest My Lord 123 Heilige Johanna der Schlachthöfe,
As You Like It 24
Chushingura: The 47 Faithful Exile Trilogy, The 73 Die 228
Auditia 350 Retainers 278 Exit the King 114 Henry 8: a sexual sermon 40
Audition, The 350 Ciao, Ci Chao 382 eXtras 291 Henry IV, Parts 1 & 2 71
Aufhaltsame Aufstieg des Cien anos de soledad 280 Hikari 289
Arturo Ui, Der 268
Cinderella 124 Hindiyeh, Mad Woman of God 187
F
Claudia 337 Hirondelle 335
B Fadren 236
Cleansed 231, 233 Horseman, The 368
Baal 266 Fairy 248
Cloudstreet 155 House of Bernarda Alba, The 80
Baby Doll 207 Far Country, The 222
Coast of Utopia, The 302 Hua Ziliang 235
Baby, The 244 Father, The 236
Coeur ardent 26
Bacchai 246 Faust I and II 182
Comedy of Errors, The 20, 299 I
Baigneuses, Les 165 Figaro házassága avagy egy őrült
Concession Pilgrim, La 369 nap 127 I Am Another Yourself 273
Balcony, The 225 Concurs 350 Firebird, The 290 I Am Blood 219
Barber of Seville, The 226, 330 Copenhagen 211, 221 Fliegende Höllander, Der 55 I Am My Own Wife 313
Barbiere di Siviglia, Il 226, 330 Córka Króla Mórz 264 Floresta Amazônica em Sonho de Icarus/Man-o-War 234
Bartleby 355 Cosi fan Tutte 238 uma Noite de Verão 54 İçimdeki Çığlık 88
Bashmachkin 89 Counsellor at Law 41 Flying Dutchman, The 55 Idiot, The 289
Bathers, The 165 Crucible, The 260 Folle Journée, ou Le Mariage de Ihmisvihaaja eli rakastunut
Bean Al Ghask wa al Fagr 367 Cunning Little Vixen, The 263, 340 Figaro, La 127 rampa 224
Beatrice Cenci 48 Forever 73 II. Mehmed 16
Becoming Holy 198 For Whom Cried My Love 217
D İkinci Caddenin Mahkumu 384
Beggar’s Opera, The 54 Fourberies de Scapin, Les 180
Da Da Se 225 Impressionist, The 177
Beirut Happy Times 122 Fragile Gift 48
Das Rheingold 279 Incognito 193
Bernadetje 111 Francesca da Rimini 356
Dead Heart 91 Infernal Machine, The 146
Bête, La 31 Frau Ohne Schatten, Die 321
Death and the King’s Inkognito 193
Between Dusk and Dawn 367 Horseman 382 Fröken Julie 53 Inner Rebellion of Takizawa Family,
Billy Budd 169 Death of Klinghofer 294 Funambule, Le 329 The 76
Bitter Calm 81 Descendants of the Eunuch Insideout 312
Black Birds in the Trees 261 Admiral 115 Inspector Calls, An 38

419
 Interpretation of Dreams, The 172 Lu You and Tang Wan 296 Musta 292 Planeta Lemia 108
Ion 315 Mutter Courage und ihre Kinder 383 Planet Lemia 108
Iphigenia 29 M My Liver is Sick or People Platonov 269
Iphigénie 29 Mabou Mines DollHouse 297 Annihilation 132 Porgy and Bess 121
Iza kulisa 42 Macbeth 172, 227, 311, 373 Mystère 60 Por quién lloran mis amores 217
Machinal 64 Porta Apostolorum 366
J Machine infernale, La 146 N Portuguese Letters 34
Je suis sang 219 Madama Butterfly 130, 160 Nabucco 69 Povi Tau Vaga 113
Jinggang Mountain, The 375 Madame Butterfly 130, 160 Nachové plachty 204 Příhody lišky Bystroušky 263, 340
Jing Wei 255 Madam Mao’s Memories 29 Naked King, The 348 Prisoner of Second Avenue, The 384
Johannes Faust Passion 230 Mad Bad & Spooky 274 Necessary Weather 92 Proserpina and the Foreigner 93
Judgment at Nuremberg 299 Magic Flute, The 190, 364 Niflungahringurinn 77 Proserpina y el Extranjero 93
Makropulos Affair, The 199 Nijuniyamachi 166 Purple Sails, The 204
Ma: Moment 357 Nine Songs 63 Pygmalion 47
K
Kà 332 Maometto II 16 Noises Off 42
Keiju 248 Marco Polo 373 Noordung Prayer Machine 42 Q
Kill 133 Markéta Lazarová 275 Nora 252 Queen of Spades, The 372
King Lear 111, 176, 239, 328 Marriage of Figaro, The 127
King Ubu 365 Marriage of Heaven and Hell, O R
Kiro 133 The 245 O 143 Racek 87
Kiss of the Spider Woman 44 Mary Stuart 62 Oczyszczeni 233 Ragtime 150
Kitchen, The 81 Masked Ball, A 161 Odiseea 2000 206 Raise The Red Lantern 231
Komedia omyłek 299 Master and Margarita, The 270 Odyssey 2000 206 Rake’s Progress 134
Kuningas Lear 239 Masterkey 142 Oedipus Rex 70 Ratsumies 368
Kurunmi 114 Mechanical Symphony, The 374 Oedipus & Symphony of Psalms 131 Räuber, Die 19, 360
Kutia e Zezë 338 Medea 306 Old Masters, The 201 Razmadežna 231
Mēdeia 306 O Livro de Jó 68 Red, Black, and Ignorant 154
Meeting with Bodhisattva 251 One Hundred Years of Solitude 280 Red Tree, The 334
L
Mehmed the Second 16 O Nemačkoj 164 Rei Lear 176
Lady Macbeth of Mtsensk 188
Memory Museum, The 237 Opera Chushingura 278 reine écartelée, La 286
Langbodo 82
Menaxheria e Qelqtë 181 Opera Mulan 335 Resistible Rise of Arturo Ui, The 268
Lao Jiu 58
Men with Running Horses, The 72 Opsada crkve Sv. Spasa 265 Restaurant of Many Orders,
Lapu-Lapu 120
Mermaid, The 375 O Skinovatis 329 The 326
Largo Desolato 16
Merry Widow, The 133 Othello 196, 330 Return of the Condor Heroes,
Last Days of Mankind, The 170
Messa da Requiem 220 O tio Vânia 380 The 231
Last Empress, The 138
Metamorphoses 249 Outrage 293 Richard II 195, 200
Last Show 354
Metamorphosis 103 Richard III 72, 232
Lear 128, 328
Midsummer Night’s Dream, A Ricordi 155
Le Balcon 225 P
46, 269, 271, 336, 357 Ring Cycle, The 77, 84, 352
Ledi Makbet Mtsenskogo Paper Rain 349
Midsummer Night’s Dream Ring des Nibelungen, Der
Uyezda 188 in the Forest, A 54 Paradise 290
77, 84, 352
Legendary Story of Eight Dogs, Miller’s Beautiful Daughter, Patarouva 372
The 253 Rizkallah Ya Beirut 122
The 244 Path of Salvation 67
Leonce and Lena 338 Robbers, The 19, 360
Misanthrope, Le 163 Pays Lointain, Le 222
Leonce si Lena 338 Roi nu, Le 348
Misanthrope ou l’Atrabilaire Peer Gynt 336
Leonce und Lena 338 Roi Se Meurt, Le 114
amoureux, Le 224 Pelleas and Melisande 183
Lepkék a kalapon 82 Romeo and Juliet 53, 316
Misanthrope, The 163, 224 Pelléas and Mélisande 66
letzten Tage der Menschheit, Romeu e Julieta 53
Miserables, Les 374 Pelléas et Mélisande 66, 183
Die 170 Room of One’s Own, A 92
Miss Julie 53 Peony Pavilion 165
Life with an Idiot 307 Ruined Map, The 354
Mistrz i Małgorzata 270 People of Inugami’s Family 65
Light 289 Rusalka 256
Mjesec dana na selu 157 Pericles 319
Light in the Piazza 378 Moja wątroba jest bez sensu Personality Transfer 34
Lion King, The 118 albo zagłada ludu 132 Pharaoh Cemetery Secret, The 240 S
Lion, the Witch and the Wardrobe, Molitveni Stroj Noordung 42 Philoctetes/Man-o-War 262 Sacromaquia 198
The 276 Molto Vivace 314 Sadan vuoden yksinäisyys 280
Phinisses 259
Little Bernadette 111 Month in the Country, A 157 Sailors, The 89
Phoenician Women 169, 259
Livro de Jó 104 Monument, The 180 Saint Joan 59
Pikovaya dama 372
Long Life 284 Moon 277 Saint Joan of the Stockyards 228
Pilgrim Concession, The 369
Lo Scrittore 99 Moon Water 147 Salomé 120
Pink Elephant & Five Gentlemen,
Lost Ones 345 Morning of Koryeo 277 The 83 Sandakan Threnody 346
Love Secret 384 Mother Courage and Her Children Pink no Zou to Gonin no Shinshi 83 Santa Juana de los Mataderos 228
Lulu 30 255, 383 Pinocchio 184, 288 Satian 102
Lustige Witwe, Die 133 Mother Hundred Eater 105 Scapin 180

420
 ACKNOWLEDGEMENTS
A PROJECT OF
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Publications and Communications Commission

ENDORSED BY
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for helping to preserve this important documentation

429
 ACKNOWLEDGEMENTS
Archiv der Akademie der Künste José Dias - Universidade Federal do Rio de Shakespeare Birthplace Trust
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Comédie-Française Lenise Pinheiro (photographer) Society of British Theatre Designers
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PARIS, FRANCE NEW YORK CITY, USA STRATFORD, CANADA

Brigham Young University, National Theatre Archive Sydney Theatre Company (Judith Seeff )
Department of Theatre & Media Arts LONDON, ENGLAND SYDNEY, AUSTRALIA
PROVO, UTAH, USA
Opera Australia Theatre Info Finland
Bund der Szenografen SYDNEY & MELBOURNE, AUSTRALIA HELSINKI, FINLAND
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Oscar Silva, SP Escola de Teatro Theatre Museum Finland
Canadian Theatre Museum SÃO PAULO, BRAZIL HELSINKI, FINLAND
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PaCPA–Pacific Creators Théâtre national de Bretagne
Cirque du Soleil for the Performing Arts RENNES, FRANCE
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Théâtre national de la Criée
The Gate Theatre Performing Arts Collection Adelaide MARSEILLE, FRANCE
DUBLIN, IRELAND Festival Centre (Helen Trepa)
ADELAIDE, AUSTRALIA Toronto Reference Library
Hungarian OISTAT Centre TORONTO, CANADA
BUDAPEST, HUNGARY Photostage
LONDON, ENGLAND ULUPUH
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Theatre Institute University of Zagreb
Ivam Cabral, SP Escola de Teatro PRAGUE, CZECH REPUBLIC ZAGREB, CROATIA
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Designers and Technicians TORONTO, CANADA
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National Theatre Award Golden Mask Zbigniew Raszewski Theatre Institute
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430
 WORLD SCENOGRAPHY 1990-2005
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Kazue Hatano COUNTRY EDITORS:
Peter Ruthven Hall
CONTRIBUTING RESEARCHERS: Inna Mirzoyan, Dmitry Osipenko
Eric Fielding, Kazue Hatano CONTRIBUTING RESEARCHERS: UNITED STATES
Ekaterina Barysheva, Inna Mirzoyan, COUNTRY EDITOR:
KOSOVO Dmitry Osipenko Jan Chambers
CONTRIBUTING RESEARCHER:
CONTRIBUTING RESEARCHERS:
Ilir Martini SERBIA
Bruce Auerbach, Jesse Belsky, Jade Bettin,
COUNTRY EDITOR:
Tom Burch, Burke Brown, Jan Chambers,
LATVIA Radivoje Dinulović
Eric Fielding, Mary C. Friedrich,
CONTRIBUTING RESEARCHER: CONTRIBUTING RESEARCHERS:
Stephen Jones, Jared Land, Don Mangone,
Edite Tisheizere Radivoje Dinulović, Eric Fielding Mike Monsos, David Navalinsky,
LEBANON Sabrina Notarfrancisco, Kristine Tollefson,
SINGAPORE Delbert Unruh
CONTRIBUTING RESEARCHER: COUNTRY EDITOR:
Damien Hadi Justin Hill URUGUAY
COUNTRY EDITOR:
MEXICO SLOVAKIA
CONTRIBUTING RESEARCHER:
Beatriz Artega
COUNTRY EDITOR:
Eric Fielding Miroslav Daubrava VENEZUELA
CONTRIBUTING RESEARCHERS: COUNTRY EDITOR:
MOLDOVA Miroslav Daubrava, Eric Fielding,
CONTRIBUTING RESEARCHER:
Fernando Calzadilla
Zuzana Koblišková
Larisa Turea
SLOVENIA
NEW ZEALAND CONTRIBUTING RESEARCHER:
COUNTRY EDITOR:
Primož Jesenko
Sam Trubridge
CONTRIBUTING RESEARCHERS: SPAIN
Keren Chiaroni, Sam Trubridge CONTRIBUTING RESEARCHER:
Eric Fielding

432
 WORLD SCENOGRAPHY 1990-2005
Praise for the first volume, This is the second volume of the World Scenography book series that
World Scenography 1975-1990: documents for posterity a collection of significant and influential theatrical
“One of the most important works on stage set, costume, and lighting designs. The first volume documented 1975-1990.
design ever published.”
 This one covers 1990-2005 and presents designs for 409 productions from 55 countries
—The Drama Book Shop, Inc. (New York City) representing the work of hundreds of designers as researched by a group of more than
100 dedicated volunteers from around the globe. The book series is published by the
“A sumptuously illustrated coffee-table
International Organisation of Scenographers, Theatre Architects and Technicians (OISTAT)
volume…spellbinding images for all
— a UNESCO-recognised organization — and is a project of the OISTAT Publications and
theatre fans…” 

Communication Commission. Through its member centres, and its individual and associate
—Rupert Christiansen, The Daily Telegraph (London)
members, OISTAT draws together theatre production professionals from around the world
“The importance of the work cannot be for mutual learning and benefit. Its working commissions are in the areas of performance
denied; its challenges are daunting, almost design, technology, publication and communication, research, education, and architecture.
Sisyphean…page after page offers the pure Both editors have worked for many years to benefit theatre professionals internationally
pleasure of seeing the work of brilliantly through their activities in OISTAT.
talented designers…it is impossible not to
look forward to the next editions…”
 Peter McKinnon and Eric Fielding probably met each other at the Banff School of Fine Arts
—David Barbour, Lighting & Sound International in the early 1980s, when Peter was on faculty and Eric was taking Josef Svoboda’s master
(New York City/London) class there. Neither of them remembers the other. They first worked together in 1993 when
Eric was the general editor of the OISTAT lexicon, new Theatre Words, and Peter was an
“It is a treasury of memorable images, that
English editor. They next worked together on the first World Stage Design exhibition in
I will visit and revisit and marvel at, again
2005 in Toronto, Canada, for which Eric was the director and Peter was in charge of local
and again…”

arrangements. This book series, their third joint undertaking, started with a remark from
—Liam Murphy, The Munster Express (Ireland)
Eric at the Honourable Scenographers’ Forum at the Prague Quadrennial in 2007. In this
“One of the most beautiful, interesting, and case, it is particularly true that the rest is history.
fulfilling books in scenography —ever!”

—Dr. Joel E. Rubin, Co-Founder of OISTAT
Eric Fielding is professor emeritus at Brigham Young University where he taught scenic design and
“I strongly recommend it to theatre was resident set designer for 28 years. He also taught design at the Goodman School of Drama, the

WORLD
scholars, patrons, students, fashion University of Texas at Austin, and the University of Utah. He received his BA from BYU and his MFA
designers, art collectors, historians, in design from the Goodman School of Drama at the Art Institute of Chicago. A 30-year member of
architects, and entertainment the United Scenic Artists 829 professional designers’ union, Fielding has design credits that include
entrepreneurs…”
 scenery and/or lighting for almost 300 plays, musicals, operas, concerts, pageants, events, films, and

SCENOGRAPHY
television productions. He is a Fellow, former Vice-President, Founders’ Award and Lifetime Member
—Emmanuel Dandaura, Leadership (Nigeria)
Award recipient of USITT. He is a 35-year member of OISTAT where he served as vice-chair of the
“This is certainly a beautiful volume, one Scenography Commission and for ten years as the commissioner of Publications and Communication
that designers and many other theatre where he oversaw the publication of new Theatre Words and the creation of the first OISTAT Website. He

1990-2005
people world-wide will want to own…”
 was editor of the journal, TD&T, from 1988-95. He served as designer for the American exhibit at the
—Don Rubin, Critical Stages, The IATC Webjournal 1991 Prague Quadrennial, winning a gold medal for “Mozart in America.” And he was creator, project
(Canada) director, and catalog editor of World Stage Design, a new international theatre design exhibition that
premiered in Toronto during March 2005, with subsequent events in Korea (2009) and Wales (2013).
“This volume…carries on where Hainaux‘s
left off and attempts to document

PETER MCKINNON
ERIC FIELDING &
Peter McKinnon is professor of design and management in the Department of Theatre at York
the works that continue to influence University. He has a BA in English from the University of Victoria and an MFA in directing, history, and
international design. It is enormous design from the University of Texas in Austin. He worked as a lighting designer on some 450 shows,
in scope, spanning fifteen years, with principally for dance and opera. He taught for six years at the Banff School of Fine Arts. He has lit
EDITED BY ERIC FIELDING & PETER MCKINNON
more than four hundred designs, dozens dances, ballets, plays and operas across Canada and internationally, including New York, Paris, and
of countries represented, and works London. He was an editor for new Theatre Words, a lexicon of theatre terminology now in some 28
reflecting diverse design practices…”
 languages. In 2005, he wrote Designer Shorts, a Brief Look
at Contemporary Canadian Scenographers and
—Stephen Di Benedetto, Theatre Design & Their Work, and in 2007
he edited One Show, One Audience, One Single Space by Jean-Guy Lecat.
He
Technology (USA) organised the conference “Wood and Canvas (and rabbit glue) in The Modern Age” in Antwerp,
Belgium, that examined 18th and 19th century wooden stage machinery and its practical usability
RECIPIENT OF THE in the 21st Century. He is a past president of Associated Designers
of Canada and served on the
2014 GOLDEN PEN AWARD executive committee of OISTAT for 16 years. He has produced shows both off- and on-Broadway and in
—presented by the US Institute Edinburgh, in addition to being on the Boards of several theatre companies. And he is a Senior Fellow at
for Theatre Technology Massey College and a Governor of Knox College at the University of Toronto.

ISBN 978-92-990063-4-4

9 789299 006344