Issue link: https://digital.copcomm.com/i/1521244
G R I S E L D A | P E R S P E C T I V E 9 1 were covered with golden panels, and we installed millions of light bulbs to create reflections. We wanted to create sparkle, and we did. As a "connecting element," I designed a Tiffany-like glass ceiling, which we see in the foyer of the actual hotel and again above the dance floor in the Queen Mary ballroom. Set decorator Kim Leonard had tables made with mirror tabletops, so when the cast does their cocaine scenes, the audience can see the "Tiffany ceiling" as a mirror image above. There were many exterior locations, and I ensured the background architecture would work with the rest of the show. One area is very interesting in that respect. Rivi, the bad guy, is hiding in a desert motel. We couldn't find any desert that could be serviced. Art Director Bruce Buehner offered to build a desert on stage; at first, everybody hesitated to say yes, eventually, we were persuaded, and Bruce and I started to design a desert. The result is quite convincing. I was so lucky to have such an amazing crew on board. In this case, the connecting element was the midcentury modern architecture of the motel itself. The other 1950s motel was built on stage as well, whereas the courtyard with the empty swimming pool was done on location in Long Beach. One of my favorite sets is the El Floridita Cuban Restaurant. There was an empty place right by the beach in Long Beach with exactly the Miami vibe, and the front room was big enough to accommodate the scene. The trouble was that, according to the script, it needed a large backroom used for private functions. Everything goes horribly wrong in this room. Stunts, shootouts and a major bloodbath take place. Therefore, it was decided to design and build a set on stage that would work with the requirements and the choreography. The scenic painters treated this set with the greatest detail, including hand-painted banana leaf wall panels and signage, shiny mahogany countertops, aging period grass cloth wallpaper and more. ADG F. EL FLORIDITA EXTERIOR. SET PHOTO. G. EL FLORIDITA COLOR ELEVATION. MODELED IN SKETCHUP BY ADRIANA DARDAS. H. EL FLORIDITA WALL MURALS IN PROGRESS. I. EL FLORIDITA SKETCHUP MODEL OF STAGE SET BY ADRIANA DARDAS. Knut Loewe, Production Designer Jakub Durkoth, Super vising Art Director Bruce Buehner, Gar y McMonnies, Art Directors Allison Lopes, Assistant Art Director Michael Budge (Lead), Adriana Dardas, Set Designers Sharisse Petrossian, Graphic Artist Kimberly Leonard, Set Decorator I F H G