Topic: THE SURREAL PAINTING (Read 202 times)

Rodzinski · « **Reply #60 on:** **Today** at 10:24:45 AM »

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 · « **Reply #61 on:** **Today** at 10:25:00 AM »

Page Thrice.

Freddie · « **Reply #62 on:** **Today** at 10:25:50 AM »

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

Rodzinski · « **Reply #63 on:** **Today** at 10:28:43 AM »

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

Freddie · « **Reply #64 on:** **Today** at 10:30:04 AM »

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

ChasSmith · « **Reply #65 on:** **Today** at 10:36:24 AM »

Quote from: Freddie on Today at 10:30:04 AM

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

Clark Griswold...

John G. · « **Reply #66 on:** **Today** at 10:43:23 AM »

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 · « **Reply #67 on:** **Today** at 11:16:30 AM »

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 · « **Reply #68 on:** **Today** at 11:18:51 AM »

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

Jane · « **Reply #69 on:** **Today** at 11:39:11 AM »

Quote from: Rodzinski on Today at 10:23:31 AM

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 · « **Reply #70 on:** **Today** at 11:40:24 AM »

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

bk · « **Reply #71 on:** **Today** at 12:13:56 PM »

I'm up, I'm up - ten hours of sleep.

bk · « **Reply #72 on:** **Today** at 12:14:20 PM »

A lovely bouquet of flowers arrived from the Pogues.

Jane · « **Reply #73 on:** **Today** at 12:14:25 PM »

Ten hours, lovely.

Jane · « **Reply #74 on:** **Today** at 12:14:45 PM »

We have a high winds warning for tomorrow. I hope it doesn't happen.

bk · « **Reply #75 on:** **Today** at 12:19:37 PM »

I agree about the sets for Hello, Dolly! Amazing. Others from that era that I really liked were Sean Kenney's Stop the World set - only because of its simplicity, no front curtain, and the way it functioned. Also, from 1965 and Mr. Oliver Smith, the set for Time of the Baraccudas, the out of town tryout here at the Huntington Hartford - absolutely brilliant and I don't know how they did it, really. Act one went from an apartment, to a graveyard funeral, to a two-floor Swiss chalet rigged with all kinds of special effects and breakaways. Genius.

bk · « **Reply #76 on:** **Today** at 12:22:35 PM »

Other sets I loved: The Odd Couple - just a great old-fashioned unit set. Oh Dad, Poor Dad and Who's Afraid of Virginia Woolf. And of course, Boris Aronson's amazing sets for Cabaret, Company, Follies, A Little Night Music.

bk · « **Reply #77 on:** **Today** at 12:23:00 PM »

Tony Walton's perfect set for Grand Hotel.

bk · « **Reply #78 on:** **Today** at 12:23:36 PM »

I was never impressed by the biggies like Les Miz or Sunset Blvd. - but Phantom was an amazing set.

bk · « **Reply #79 on:** **Today** at 12:24:44 PM »

I think one of the failures, one of several, of Smile were the awful sets.

bk · « **Reply #80 on:** **Today** at 12:25:52 PM »

Also, Tony Walton's Will Rogers Follies functioned perfectly for that show, but Tony was a genius in all things.

MichaelG · « **Reply #81 on:** **Today** at 01:16:57 PM »

TOD: I'll go with the set for Sunday in the Park with George. Though I just saw the Broadway production on TV, that's the first time I really remember a set from a show.

MichaelG · « **Reply #82 on:** **Today** at 01:18:57 PM »

Currently at Denver airport en route to Baltimore. They recently opened a branch of one of my favorite Boulder restaurants here and it was very good.

Freddie · « **Reply #83 on:** **Today** at 01:41:13 PM »

Quote from: MichaelG on Today at 01:18:57 PM

Currently at Denver airport en route to Baltimore. They recently opened a branch of one of my favorite Boulder restaurants here and it was very good.

Safe and smooth travels, MichaelG!

Jrand75 · « **Reply #84 on:** **Today** at 01:57:48 PM »

Travel vibes for DR MICHAELG

Jrand75 · « **Reply #85 on:** **Today** at 01:58:24 PM »

Congrats to DR RODZINSKI on his millstone.

Ancient Chinese secret eh?

News:

Author Topic: THE SURREAL PAINTING (Read 202 times)