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slightly below the main platform, would serve as Clov's kitchen.

Upon further clarification and development Penny brought the height of the

platform and also the back wall down from the original design. She also put the

kitchen/cube above rather than below the level of the platform.

My instinct upon getting used to the concept of this set was to have Nagg and

Nell simply come up from under the platform through trapdoors that would be

raised by their heads, but in a reversal of our earlier positions, Penny felt that some

sort of "can" was needed, and we settled on two overturned buckets.

Penny and I wanted to create a sense of the audience being aware of Clov

when Rachel is in the kitchen. In Beckett's scheme the kitchen was off-stage, but we

wanted to accentuate the sense of Hamm and Clov being trapped on the platform.

For this to be possible we needed the kitchen cube.

I had felt, from the beginning, that the lighting should be as unobtrusive as

possible. I wanted the stage to be lit from the time the audience entered until they

were gone. Shifts in the lighting should be subtle and slow. As could be expected

from any designer, David Gordon pushed towards a design that was a bit more

"present." Penny had mounted two eight-inch fresnel lenses in the back wall of the

setas the windows. David focused lights through this providing a major part of the

lighting vocabulary that was not suggested by the text. The other deviation from

Beckett in the lighting was the lighting of the kitchen cube. The idea would be to

project Rachel's shadow on the downstage side of the cube while Clov was in the


Penny began developing props along the lines of improvising with found

objects. Clov's glass was constructed of various parts of brass plumbing pipe. The

dog was three different stuffed animals, cut up and glued together into one dog (by