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[Rodzinski]

TOD: For some reason I really loved the set for Proof. Was just a very realistic house. I could stare at it all day.

[Rodzinski]

Page Thrice.

[Freddie]

Congratulations, Rodzinski, on your marvelous millstone, passing post #14,000!

[Rodzinski]

I did it! I couldn’t do it without all of you fine people though.

[Freddie]

Don't forget to thank the little people, Billy Barty, Mickey Rooney

[ChasSmith]

Don't forget to thank the little people, Billy Barty, Mickey Rooney

Clark Griswold...

[John G.]

I spent many years at Actors Theater of Louisville as both patron and usher. Their sets were a wonderful mix of realistic and representational. For Morning’s at Seven, the kitchens had running water, plus realistic trees. For The Play’s the Thing, it was art deco sleekness, a chaise longue bathed in warm light. A Christmas Carol changed every year, my favorite incorporating a giant book through which the characters came to life.

[elmore3003]

I think the first set that really impressed me was Oliver Smith's set for Hello Dolly! The show was a wonderful musical, to begin with, but that set moved, danced, folded, unfolded; it was truly amazing.

Smith's work was always amazing: I saw the original productions of The Sound of Music, Camelot, and Hello, Dolly, all designed by Smith. The Sound of Music didn't impress me, Camelot was really gorgeous, but Hello Dolly was the first show I saw with a set that was more than painted drops.

Boris Aronson's sets for Follies were also amazing. If anyone ever needs a designer for this show, the first question for any designer in interview for the job should be how to get from a ruined theater to Loveland and back again.

[elmore3003]

That last, pathetic revival of Follieswith Bernadette Peters had a set by a nincompoop.

[Jane]

Known also as Christmas Eve Eve.

Also the day I finally gave birth to a baby boy after four and a half days of labor pains.

[Jane]

OK, so they said much of that was false labor, sorry hard pains 20 minutes apart didn't feel false to me