​FLUIDITY OF TIME AND SPACE

By The Design Team

Set model by Russell Metheny.

RUSSELL METHENY  SCENIC DESIGNER
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The set for The Curious Incident is designed as a space for light and moving images to play, shift, and change the physical and emotional atmosphere of the space, and to enhance the actors' characters, dialogue, and actions. The playwriting is incredibly fluid, with many layered locations and time changes, and the dialogue is verbally visual. Director Risa Brainin and the design team storyboarded the entire play with the scenic model to help define the essential scenic, light, sound, and costume elements, and the flow of these elements with the actors. Although the set feels essentially spare, there are elements of real detail for certain scenes that will appear to enhance the emotional connection between the ensemble cast and the audience.

Rendering by Devon Painter

 
 DEVON PAINTER  COSTUME DESIGNER

The challenge of this show is to create the individuals that Christopher encounters  with small gestures to delineate each character. Each member of the ensemble plays a significant role in Christopher's story, as well as  a myriad of supporting roles, all of which need quick representation to define him or her. I chose a neutral palette for the ensemble—almost “a world a teachers” from which  individual characters could then appear when needed.
 

​MICHAEL KLAERS  LIGHTING DESIGNER
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We're very used to thinking about light as an environment that characters live in and move through. Light can help tell the story of where and when we are in a play, and what the world thinks about the characters. As we’ve been working on this play, I’ve been thinking about light as a sensory experience by itself. Even before it illuminates the space around us, we all experience light as a raw sensory perception. We often ignore, sometimes just tolerate, and only occasionaly enjoy the colors and flickers and textures of light itself before it begins to do its job of revealing or obscuring.

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