Issue link: http://digital.copcomm.com/i/1061165
period fairground and state fair photos. It was important that the signage and various tents have the honeyed tone of happier times, in keeping with the show's zeitgeist of nostalgia juxtaposed with the dark message of reality—here being the Confederate cause. There was a lot of discussion about how much of the stars and bars imagery would appear, and in the end, I think the right balance was found. In designing and building the stage and its scenery, I wanted everything to have a community theater feel. It was a lot of fun to incorporate some of the old tricks from my days in New York's off-off Broadway theater world, right down to the red silk "flames" at the base of the tree that Amma is tied to. Neo-Noir Southern Gothic I have always admired the work of fellow designers who through craft and vision are able to fashion a genuine sense of place and a specific atmosphere. I think that if you look at this show, and can see past the dank and despondent subject matter, it achieves that. Through the combined talents and work across the costume, cinematography and Art Departments, Wind Gap exists. ADG John Paino, Production Designer Austin Gorg, Art Director Wes Hottman, Assistant Art Director Tom Taylor, Set Designer Joanna Bush, Illustrator Jason Perrine, Graphic Designer Amy Wells, Set Decorator D. CALHOUN DAY STAGE. SKETCHUP STUDY. E. ELIZA SCANLEN AS AMMA AND AMY ADAMS AS CAMILLE IN A SCENE WITH THE DOLLHOUSE. D E