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Likewise the costumes were constructed of old clothes sewn together in a

seemingly haphazard way. We decided that Nagg and Nell would be naked as far as

the audience could see. Bare shoulders with faint white makeup. Clov had a heavy

floor-length coat over pajamas and a stiff woolen cap. Both conceptually and

practically the coat was designed to get in Rachel's way. Hamm began with the same

old pajamas as Clov, but covered them in layers of found pieces of finery. A

waistcoat and robe, hinting at a faded glory.

The clothes that dressed the set seemed to bleed up into the costumes

creating a sense that the characters and the setting were integrated at some

elemental level.

I felt a strong connection to the work that Penny was doing and it had a

significant impact on my conception of the play. The dimensions of the platform

obviously had to be accounted for in the staging, and the image of being stranded

on a raised surface surrounded by darkness was a rich image for both myself and

the cast. It was clear that despite it's variance from Beckett's directions, it was

connected to the spirit of the piece in a way that was significant and sustainable.