Meeting WILSON CHIN was like starting out on a train journey: through the window complex scenarios materialized, layered on different planes, ordered landscapes, natural colours that are never artificial, flower-studded hills, frames within which even objects create an action and interact with the characters themselves. Chin’s sets shape harmony, define movement, imply a design method like a geometric construction, exquisitely architectural. The  scene thus  becomes increasingly all encompassing, tending to embrace the audience.

IN THIS ISSUE: Text by Dana Pinto. Contributors by Russell H. Champa (Lighting Designer), Adam Honoré (Lighting Designer),  Samuel D. Hunter (Playwright), Mike Lew (Playwright), Ken Urban (Playwright), Martyna Majok, (Playwright), Alan Paul (Director), Barry Edelstein (Director), Moritz Von Stuelpnagel (Director),
Danya Taymor (Director), Jenn Thompson (Director), Alex Timbers (Director), Eric Ting (Director).