"So what about Sir Percival Glyde and Count Fosco? ARe we just hearing their voices that whole time? "
No. The screens for the projections were on two curved walls that met center stage for those scenes that required a longer wall. In this particular scene, only one wall was at the front of the stage, and it was this wall that Marian was seen to be on the ledge. The other wall was behind Glyde and Fosco with a projection of books on shelves. It was set up in such a way that the audience could see both the men in the library and Marian on the ledge.
I hope that makes sense... I'm not explaining it very well.
Broadway Legend Joined: 10/13/05
Here is Dudley's set design:
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That's really cool.
I wish I could've seen it.
Anyone have more info on the Japanese production? I'm intrigued.
Broadway Legend Joined: 11/23/05
"I hope that makes sense... I'm not explaining it very well."
Kinda makes sense.
Thanks for the set design. It doesn't give much of an idea of what it was like to sit in the audience looking at it, but it's the best I have seen to show how it was set up and how it worked---as it should, being Dudley's own.
For the most part, I liked the projected scenes. The one in which we saw the country side and came to the scene where Walter and the two girls were painting was beautiful, and the train at the end was very effective. In between, there were a few things that didn't work as well, but in general, I liked the cinematic way the projections allowed the scenes to change.
---Saw it in London before all of the various changes were made. From what I've read, I can't think they improved the show any---except for improving the look of the grave in one scene. When I saw WiW, the grave looked pretty much like a big pile of dung.
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