THE SCENOGRAPHER

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OCTOBER 2020

BEOWULF BORITT

SET & COSTUME DESIGNER

BEOWULF BORITT

Set & Costume Designer

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.

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by playwright David Thompson.

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.

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.

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.

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.

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ORTHCOMIN

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Winter Collection

VINCENT BOUSSARD

Vingt ans déjà ! C'était en 2000, avec un des joyaux du répertoire : Dido & Aeneas de Purcell. Vincent Boussard, jeune homme passionné par le théâtre autant que par la musique, se lançait dans une prometteuse carrière de metteur en scène d'opéra. Homme d'instinct autant que d'intelligence, il s'est rapidement imposé parmi les figures majeures de la mise en scène lyrique européenne. Retour sur un parcours fait de fidélités (humaines) et d'explorations (artistiques) tous azimuts.

Text by Jean-Jacques Groleau

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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.

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Winter Collection

LESLIE TRAVERS

Leslie Travers, an award-winning international Set and Costume Designer, and creator of some of the most distinctive stage designs in opera, musicals, drama and dance in our generation. Renowned for his pure poetic landscapes, sculptural grandeur, characteristic colour palettes to opulent costumes, there are significant ingenious devices, seamless scene changes, a very selective process of materials where everything has a purpose or story using scenography as a catalyst to create extraordinary theatrical spatial experiences. For every performer, every member of the production and every spectator, who has the opportunity to experience Leslie Travers’ designs live and first-hand, recognises that there are further wonders to his design than meets the eye.

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