Issue link: http://digital.copcomm.com/i/1316563
L I T T L E F I R E S E V E R Y W H E R E | P E R S P E C T I V E 5 1 scatter throughout the streets to create those fall nights. On stage, the permanent sets needed to shift through the seasons as well, which involved constant back-and-forth redressing of trees as the schedule jumped between seasons, and backings that needed to shift from lush green lawns to snow-fi lled panoramas. Evoking the changing of seasons was a group eff ort contributed to by every department, from the director of photography's shift toward cool harsh light in the winter, to the postproduction inclusion of cicadas, dry rustling leaves and pounding rain. Another unexpected challenge was the '90s aspect of the show. At fi rst glance, 199 doesn't feel like a period piece, but then realization that it was over twenty years ago sets in. The show re-entered a world of Ethan Allen dining sets, heavy wood four-poster beds, wicker and patterns everywhere mixed with heavy doses of shades of beige, plaid and forest green. The '90s is not a beloved period in design history. The interiors of the period went out of fashion and never came back. This meant rental houses didn't stock many '90s pieces, and there are very few collectors of "vintage" '90s furniture. Lisa found herself on eBay and craigslist, tracking down people who were cleaning out their homes, getting rid of what they considered junk furniture. While the furniture itself was sometimes inexpensive, the shipping costs to get it from the middle of the D E F