Tony Nominees
After a difficult year, the postponement of this year's Tony Awards is expected, but the nomination awards have been announced, and although the date of the Tony Awards has not yet been determined, it is possible that the Tony Awards ---- the highest award in the theater industry will undergo a special virtual award ceremony.
Today, we'll take a look at what plays are nominated for "Best Set Design" at this Year's Tony Awards!
Best Set Design for a Play
"The Inheritance" (Inheritance)
Set Designer: Bob Crowley
The series is divided into upper and lower parts, with a total duration of 7 hours, according to E.M. Adapted from E.M Foster's novel Howard's End, six-time Tony Award-winning set designer bob Crowley holds both roles.
He designed costumes for about 28 characters, as well as Henry Wilcox's minimalist country house---- which has a tree with pig teeth and multiple locations in Manhattan, Hamptons, and Fire Island. The Inheritance sets the novel's bourgeois society as a contemporary Group of Gay New Yorkers who still feel the spiritual effects of AIDS, and whose themes are similar to the novel itself.
"The script is the most intimidating thing I've ever received. The book was thick, about 400 pages, and I was captivated from the moment I sat down. New York has houses, apartments, streets, and is multi-location. I thought, how are we going to take advantage of it."
---- Bob Crowley
Leonardo Da Vinci's The Last Supper, and the carpeted photographs of the late designer Halston's Manhattan apartment, provided inspiration for The Inheritance's stage space. In this apartment, everyone is laid out on mats and sits on the floor.
The designer's stage solution is to create a "floating platform" that serves as a stage within a stage that can rise and fall, abandoning the clear variety of geographical locations and allowing the audience to play their imagination. "I know it has to be very, very simple... The show is so well written that you always know where you are. "The audience doesn't need all these rooms, the streets and the roofed houses, it just needs poetry."
Betrayal (Betrayal)
Set Designer: Soutra Gilmour
Harold Pinter's classic Betrayal, about the end of a marriage and an illicit relationship, set and costume designer Sotera Gilmour, the female stage designer we've introduced to you before, chose a minimalist approach that allows the performance to speak for itself in the mental space.
"The design of this work has been deliberately deleted. Any real clues about the location are gone, and the stage design is a framed space that accommodates the actors, as its key function is to maintain tension and emotional temperature while suggesting a place rather than describing it specifically. ”
----Soutra Gilmour
The play takes place in the Italian hotel rooms, bars, and London apartments which have a pair of chairs provided by the Italian modernist architect Gio Ponti as the main set. Gilmour uses the theater's low-level space to move back and forth on a rotating stage to keep up with the story rhythm of the play, silently moving the actors from one to another in the protagonist's triangular relationship.
A Soldier's Play
Set Designer: Derek McLane
Set in World War II, A Soldier's Play, directed by Kenny Leon and emmy and Tony award-winning set and production designer Derek McLane, studied the architectural manuals of wooden barracks during World War II and the conversion of soldiers' homes and military offices. One of the challenges is "how to provide enough information and atmosphere so that the audience can feel the scene and place at that time, so that the story is clear and clear, without slowing down the rhythm of the play."
Charles Fuller's Pulitzer Prize-winning novel tells the story of the murder of an African-American sergeant and the investigation conducted by his captain in 1944. Set designer Derek McLane created the smallest set out of wooden columns, wooden slats, and beams, and used the American flag as one of the few decorative elements. The set switches back and forth, flashing back to the office and the two-story living area. Another design element is a background image of a cloud landscape in Louisiana, which the designer says provides a "feeling of heat and humidity."
Slave Play
Set Designer: Clint Ramos
Set and costume designer Clint Ramos combined director Robert O'Hara and screenwriter Jeremy O. Harris. O. Harris) alternating perspectives.
"The director wants a kind of arena-like intimacy, and the writer wants an illusion that makes the audience walk in and then be transplanted deep into the South, and the concept is always tricky when you're dealing with race, especially those that are explosive and unspentantly socially critical."
---- Clint Ramos
A Tony Award winner who calls himself a "historian, scientist," the designer studied the films Gone with the Wind and 12 Years a Slaveand, as well as delved into the architectural styles of Southern plantations, as well as photographs and illustrations from that period. Clint Ramos illuminates the theater with an external lightbox from MacGregor House that hovers above the audience, making the audience feel like they are part of the scene. He also uses mirrors to create a kind of intimate space, as a metaphor that requires the viewer to really examine themselves. The mirror reminds the audience of the specter of racial inequality in this country, because the creators really don't want to talk about race relations---- just use it as a metaphor. The three acts also include a pre-Civil War bedroom with a four-poster bed with a lace canopy, a cotton field set, a group therapy room and a hotel room.
Best Set Design for a Musical
"Jagged Little Pill"
Set Designer: Riccardo Hernández
Video Designer: Lucy MacKinnon (Lucy McKinnon)
Inspired by Alanis Morissette's 1995 Grammy-winning album Jagged Little Pill, this Broadway musical set in the wealthy Healy family and set in suburban Connecticut is an American legend about a workaholic husband, a drugged mother, two sons (one of whom graduated from Harvard), and an adopted daughter.
Set designer Riccardo Hernández, who is also an assistant professor at the Yale School of Drama. He began by sending pictures of "The McGrach House in Connecticut--- which looked like steroid buildings, to diane Paulus, the show's director. Inspired by the work of painter and graphic artist Robert Rauschenberg, the designers created scenes of constant movement with sliding glass panels. He created four theater spaces at the Broadhurst Theater, ranging from luxury homes in America in the '90s to meaningful black voids.
"The premise of this set is that I can decipher the concept of the American family into what it looks like to have a broken family, and then put them back together."
----Riccardo Hernández
Since the play is a jukebox music genre, lighting and video projection are crucial to the overall design scheme. Projection designer Lucy MacKinnon (Lucy McKinnon) uses realistic photo projections to create backgrounds, determine the position of the play, trying to create an emotional undertone because there is anger, sadness, longing and regret in the music, so she creates a chaotic effect through the image.
"A Christmas Carol" (Christmas Carol)
Set Designer: Rob Howell
Set designer Rob Howell designed a new version of the costumes and scenes for Charles Dickens' classic novel.
"My goal is to make the audience feel like they're in the same world as the story. How small the space and how little the clothing should be, so that everyone can believe it. There were no cobbled streets and we didn't want Victorian windows. We want a cleaner, more naked stage, which is the believable era. ”
---- Rob Howell
He chose a "dark and dirty palette" to illustrate times of poverty. He deliberately tried to get rid of the chocolate box or Christmas card version of the story, because these masked real poverty.
Hundreds of lanterns are hung on the set as props and metaphors. Stranded in a dark world of his own creation, Scrooge is visited by three ghosts of past, present, and future before he accepts light into his life. The lanterns proved to be a logistical nightmare, as it was a challenge to transport hundreds of luminaires to the theater
。 Designers source cheap contemporary art from Home Depot, but the artist creates their magic to make them look like they're hundreds of years old.
《Moulin Rouge! (Moulin Rouge)
That's right, you read that right, it's the big guy Derek McLane again, nominated for both plays and musicals! That's awesome!
Moving director Baz Luhrmann's 2002 Oscar-nominated classic film from the big screen to the Broadway stage was an interesting challenge for stage designer Derek McLane.
"Some of the things I want to get out of this film is to keep alive, fast cameras going from one place to another and finding ways to do that on stage. I also wanted to capture moments of movement around the audience and make them feel like they were part of it. ”
derek McLane, ----
Montmartre's charming and diverse neighborhoods and the legend of famous and colorful cabarets provide designers with plenty of creative inspiration. It was a very decadent time, and the artists were immersed in Moroccan art, Indian textiles and handicrafts with a very chic exoticism.
One of the most important design themes is the ever-present heart-shaped entrance, which the designer recalls from the film. He did not want to be bound by it, and decided to design the heart-shaped entrance very delicately, making it more detailed in architecture. Windmills are also dotted in various parts of the red velvet pendant set, from lamps to decorative boxes. Derek McLane's desire is to remind the audience of the original while giving them a whole new theatrical experience.
"Tina Turner" (Tina Turner)
Set Designer: Mark Thompson
Video Designer: Jeff Sugg
British set and costume designer, five-time Tony Award nominee Mark Thompson and award-winning video projection designer Jeff Sugg created the overall look of the stage's "character biography musical" that sets the backdrop for Tina Turner's iconic pop songs and her turbulent life.
"It's not really a scene, the whole story is about memory. Suggestibility is important because the scene is more like a dream and more poetic. We tried to find a language that made it as simple and fluent as possible. ”
---- Mark Thompson
Jeff Sugg first investigated her life by watching a documentary about the rock icon. Use video projection to transfer the viewer from one set to another while capturing her energy on stage.
"I would weave these very different places into magic realism and then incorporate the spiritual elements into it. I grasped this in my video work and tried to draw these visual narratives that went in and out of this dream—what we call the aether world. ”
(*Aether: Originally a concept in physics, it was invented to explain some natural phenomenon that could not be explained at the time.) This imaginary substance is considered a more fundamental natural existence in which all matter exists, as a cosmic medium. ）
Regarding the shortlisted set designers, we have also listed the articles we have introduced them and their works in previous periods in the following links, which ones are interested in, hurry up and poke and poke to learn!
About Bob Crowley:The 2018 Olivier Awards attributed to him/it!
About Southa Gilmour: Who says women are inferior to men Look at the tough stage created by this female designer
About Derek McLane: Derek McLane, who was in charge of the stage design of three Academy Awards, derek McLane, this year's Oscars not only to understand the stage but also to understand these numbers, to make the stage life trivial must drive the prop designer crazy
About Riccardo Hernández: Moving the pool into the theater?!
About Rob Howell: Recreating Real-Life Scenes Watch the Designer of "The Ferryman" Create from Physical Space to Emotional Space, June 1st Scenes, A Children's Musical Show Shows You How to Do "Everything Between stages"
About Mark Thompson: Kids Day Specials? A chocolate for a super sweet visual experience
(Image from the Internet)
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