urrent issu C E SEPTEMBER 2020

 

BEOWULF BORITT
SET & COSTUME DESIGNER

 

BEOWULF BORITT
Set & Costume Designed

Boritt is a “director’s designer.” His design is always in service of the director’s vision. He doesn’t come to a project with pre-conceived ideas or notions. His own design aesthetics never dictate his work.

Thérèse Raquin
THÉRÈSE RAQUIN by Helen Edmundson based on the Novel by Emile Zola. Directed by Evan Cabinet. Set designer: Beowulf Boritt. Costume designer: Jane Greenwood. Light designer: Keith Parham. Sound designer: Josh Schmidt. Broadway - Roundabout Theatre Company, Studio 54, 2015.
Image is not available
A BRONX TALE
A BRONX TALE by Chazz Palminteri, Alan Menken and Glenn Slater. Directed by Robert DeNiro & Jerry Zaks. Set designer: Beowulf Boritt. Choreographer: Sergio Trujillo. Costumes by William Ivey Long. Light designer: Howell Binkley. Sound designer: Gareth Owen. Broadway (Longacre Theatre) 2016.
Beowulf Boritt’s first design jobs in New York were at a small Italian-American theatre in this neighborhood, he worked there for five years so he knows the neighborhood well. The set created Belmont with four massive, multi-story, iron fire escape towers which tracked and spun about the stage creating a wide variety of environments within a world of stylized Bronx cityscapes all painted in red and black like a 1950s three-tone print.
Image is not available
COME FROM AWAY
COME FROM AWAY by Irene Sankoff and David Hein. Directed by Christopher Ashley. Set designer: Beowulf Boritt. Choreographer: Kelly Devine. Costumes: Toni Leslie James. Lighting designer: Howell Binkley. Sound designer: Gareth Owen. Broadway (Schoenfeld Theater), 2017.
Come From Away is the story of 7,000 airline passengers who were stranded in Gander, New foundland when American airspace was closed after the terrorist attacks on September 11, 2001. It is theatrical storytelling with actors playing multiple roles often within a single song, but the material is so sensitive, especially to a New Yorker, that the design required an extra level of care. It is a non-literal theatrical space, but all made with real materials with a minimum of artifice.
Image is not available
ACT ONE
ACT ONE by James Lapine based on the autobiography by Moss Hart, directed by James Lapine. Set designer: Beowulf Boritt. Costume designer: Jane Greenwood. Light designer: Ken Billington. Sound designer: Dan Moses Schrier. Broadway - Vivian Beaumont Theater at Lincoln Center, 2014
James Lapine wrote Act One with about thirty-five locations. The scenes were not unlike a Kaufman and Hart play, they required realistic things; kitchen tables, working sinks, typewriters on desks, and so forth. The scenes were also often short, requiring the location to change frequently and quickly... The set was a sixty-foot (twenty meter) diameter turntable with a three-story skeletal world of 1920s New York City with all the play’s locations existing as little spaces within in. Beowulf Boritt received a 2014 Tony Award for the set.
Image is not available
Slider

 

ORTHCOMIN F G FROM NEXT MONTH

___________

Image is not available
Image is not available
01
Winter Collection
JUAN SEBASTIAN
DOMINGUEZ

The desire to do everything. Youthful passion forges the character, but also the professional, who channels their work, leaving no stone unturned. We have the excuse; you have to be able to do everything. Talent validates you and your training and helps you to be a "three in one". Or just two. Or just one. The artist is the same.

Slider
___________

 

 

Comments Disabled