Do you have any examples of set designs and staging that primarily only use chairs (i.e. The Laramie Project, Vagina Monologues, etc.)
Broadway Legend Joined: 12/5/04
Grand Hotel's set appeared to be basically a collection of gold ballroom chairs and a revolving door. There was much more to it, of course: plexiglass columns, spinning chandeliers, an upstairs gallery to carry the orchestra. But what we remember are the gold chairs.
The original set for NINE was a bunch of tiled levels with tiled seating blocks for the cast. It was a LONG wait till the "Grand Canal" portals flew in in Act II.
Broadway Legend Joined: 2/24/11
From "Forbidden Broadway's" "Grand Hotel" spoof...
"People come. People go. People move chairs."
Broadway Legend Joined: 7/20/04
I did a production of Our Town in college that used only chairs... I'm sure that's a common design.
There's this play by Ionesco...
The Scottsboro Boys
The Chairs
Spring Awakening
Grand Hotel
NYCO's revival of NIGHT MUSIC was all chairs. Looked like hell.
Patti and Mandy's show uses just chairs... and ghost-lights.
Broadway Legend Joined: 6/5/09
Don Juan in Hell (1952 Broadway production)
The Hollow Crown
The Golden Age
Most productions of OUR TOWN, come to think of it.
Ionesco's THE CHAIRS is obvious. THE SCOTTSBORO BOYS is the most recent that comes to mind.
With imagination, any play's set could be constructed of only chairs.
Stafford Arrima's Ragtime was done only with chairs.
Broadway Legend Joined: 2/20/04
COPENHAGEN was a circular platform and three chairs.
The Copenhagen chairs were the only memorable thing about it.
As already said, my main memory of Grand Hotel (which I saw on tour when I was 11 or so) was--aside from how stunning I found the production--those chairs...
Sean said: NYCO's revival of NIGHT MUSIC was all chairs. Looked like hell.
Ah I'm glad someone agrees with me (unless you were joking...) The stage always seemed so empty to me--especially compared to Aronson's original design (I guess with the plexiglass trees sliding around it would be expensive to use again but I wish someone would).
Actually the trees werent plex. They were luann, which, at the time, was a cutting edge material.
And yeah, the NYCO production looked like hell. One of the few times I've ever sat down and written a latter of complaint about how bad a design was, but this one merited it.
HAHAHAHAHAHA! The Irish Rep's version of Beowulf a few years back! LOL!
I coulda sowrn in the Aronson book it said they were glass--for some reason, though I may have had to look up luann and read somewhere it described as like plex and got that in my head (my copy of that book is somewhere in a box--I really should make sure I can find it, it's such a great resource and seems to go for a lot used now).
E
"COPENHAGEN was a circular platform and three chairs."
And part of the audience was seated on stage.
The problem with using glass (or plex, for that matter) was the issue of weight: these things were over 20-0 high and 8-0 wide, and — back when the show was first mounted — we didnt have sufficiently light weight materual to make them move as smoothly as Boris wanted.
Then someone told him about luann. Feders tested it out, and it apparently was perfect — save for the cost, because, again, at that time, no one was using it. But oddly enough, it was this production that made luann a popular material: the manufacturer promoted the hades out of this.
The Year of Magical Thinking, as directed by Cate Blanchett.
Sean, sorry to point out, but the word you're looking for is LEXAN. Luan is a thin mahogany plywood sheet often used to skin hard flats. Lexan is a super-durable plexi-like product. You're usually so spot on in your set design observations, I certainly won't hold this odd gaffe against you :
As it turns out, I actually found lots to admire about the revival set of ALNM. (Loved the mirror panels that dissolved from framed prints into birch trees.) But enjoying this production required forgetting everything I had loved when I saw Boris' original back in 1973.
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