Issue link: http://digital.copcomm.com/i/1124104
when the world really does seem to be glitching all around them. With the Production Design of Russian Doll, a balance is struck between the authenticity of New York and the visual thematics of pain, decay and trauma. The result, I hope, is a magical realism that feels moving, relatable and deeply meaningful. So to that question. About the door. The answer I often give is that it doesn't mean anything at all. It's an art piece that Maxine made. It's a red herring. And yet, it's a familiar gash, a void, a wound. But it's also a threshold to a new day. An invitation to Wonderland. ADG E G A. NADIA AND ALAN'S RULES. CONTRASTING GRID OF NADIA AND ALAN. B. NADIA'S BASEMENT APARTMENT. SET PHOTO. C. ALAN'S MID-RISE PAD. SET PHOTO. D. ALAN'S APARTMENT AS ITEMS DISAPPEAR. PRODUCTION STILL. E. NADIA'S LOFT SHOWING THE WALLPAPER PATTERN. PRODUCTION STILL. F. INITIAL SKETCH OF FACING BATHROOM SETS. G. SPLIT SCREEN OF NADIA AND ALAN'S BATHROOM RESET POINTS. BUILT PRACTICALLY ON STAGE IN BROOKLYN. PRODUCTION STILL. Michael Bricker, Production Designer John Cox, Art Director Lisa Merik, Set Designer Emma Stensaas, Graphic Designer Jessica Petruccelli, Set Decorator F