I'm not sure what you are asking. Harold Prince was famous for using actors on stage throughout his musicals, but they were usually playing people (or ghosts in FOLLIES), not literally walls and furniture. It gave his work a look of Realism that was unusual for musicals in the 60s and 70s. (And it may have originated with Robbins or somebody. I could be giving Prince credit for something he didn't invent, but merely used a lot.)
The tradition of musical theater characters having extensive meetings where they are all alone in a public place (some stagings of "If I Loved You" for example) was always rather artificial.
As for using actors to actually play furniture and set pieces, I know Fosse did some of that in PIPPIN and maybe even CHICAGO, but I don't know if I'd call that his "style". A lot of the shows (PIPPIN, GODSPELL, others) that were influenced by college productions that were in turn influenced by improv exercises (and I don't mean the GROUNDLINGS) did things where bodies came to represent inanimate objects. Call it the "hippy" influence.
Ramon Delgado's The Little Toy Dog, is a very short one act that is written with the chorus or ensemble used in this way. They are the trees in the forest and as the male and female lead stroll through the forest, they comment. they create the wind etc.
The male lead goes to university, off to war, into the work place, and in each the chorus creates the environment, as walls, chairs, blackboards. sometimes they are soldiers, other times they're inanimate.
..... and then, of course, we have scenery as actors, as in Phantom's "Masquerade" number.
2016 These Paper Bullets (1/02) Our Mother's Brief Affair (1/06), Dragon Boat Racing (1/08), Howard - reading (1/28), Shear Madness (2/10), Fun Home (2/17), Women Without Men (2/18), Trip Of Love (2/21), The First Gentleman -reading (2/22), Southern Comfort (2/23), The Robber Bridegroom (2/24), She Loves Me (3/11), Shuffle Along (4/12), Shear Madness (4/14), Dear Evan Hansen (4/16), American Psycho (4/23), Tuck Everlasting (5/10), Indian Summer (5/15), Peer Gynt (5/18), Broadway's Rising Stars (7/11), Trip of Love (7/27), CATS (7/31), The Layover (8/17), An Act Of God (8/31), The Curious Incident of the Dog in the Night-Time (8/24), Heisenberg (10/12), Fiddler On The Roof (11/02), Othello (11/23), Dear Evan Hansen (11/26), Les Liaisons Dangereuses (12/21) 2017 In Transit (2/01), Groundhog Day (4/04), Ring Twice For Miranda (4/07), Church And State (4/10), The Lucky One (4/19), Ernest Shackleton Loves Me (5/16), Building The Wall (5/19), Indecent (6/01), Six Degrees of Separation (6/09), Marvin's Room (6/28), A Doll's House Pt 2 (7/25) Curvy Widow (8/01)
I just did The Odyssey translation by Richard Fitzgerald we'd use people to become ships & planks of wood, and people as animals ie. sheep and wolves and lions it was really fun to use people instead of set pieces & worked with the show's dance background that we incorporated
Jon Both's adaptation of Pride and Prejudice uses actors as gates, shrubs, ect. Also, while offstage characters are spoken about on stage they are revealed through sliding panels or forming tablues (sp?)
In English, tableaus (or in French, tableaux, I believe).
Only because you asked. Not trying to be snarky.
(ETA looked it up: the British use the French spelling, tableaux, and that is technically correct in American English as well; but in the U.S., tableaus is more common.) Updated On: 3/10/12 at 05:18 PM
In my University's upcoming production of "CABARET", a lot of the Kit Kat Girls will be present in most scenes as on lookers. Using them as set decoration.
"I think lying to children is really important, it sets them off on the right track" -Sherie Rene Scott-
NICHOLAS NICKLEBY attempted to represent everything in the book onstage, including descriptive passages. I especially recall a description of a row of houses which were represented by actors standing in a row.
I saw a production of Once on This Island where ensemble members played the tree. It was kind of lame. They just stood there and held branches while little Ti Moune sat on one of their shoulders.
Not sure if anyone saw Stop the Virgens, the rock opera by Yeah Yeah Yeahs singer Karen O when it was at St. Ann's Warehouse last year. When you went into the theatre you had to walk through a giant tunnel created by the 40 plus young female ensemble. It was pretty incredible.
They were also used for other scenic pieces throughout the show.