1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46
slightly below the main platform, would serve as Clov's kitchen.
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.
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.
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.
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
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
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