Issue link: https://digital.copcomm.com/i/1546606
Library. We pulled the books and introduced raised dining platforms, providing an audience to look down on Bea and Andrei when they entered. But the real treat was the extravagant décor brought in to match the location. Panni Lutter lead the charge with help from assistant set decorator Attila Szabó, who created fringed red velvet balloon curtains and custom planters, filled with huge palms, trimmed in gold, and flanked by life-size porcelain leopards. Heading into the backroom, a former reading room turned high- stakes poker lounge, the task was to elevate our understanding of Andrei's access. The embossed leather wallcovering and rich golden curtains and a continued animal print theme let us lead Bea into the lion's den. Going through this journey was incredibly special from the start, and a bit of a family affair. I'd designed three projects with Susanna Fogel, one with US Supervising Art Director Christine Foley and had met David Iserson over zoom trivia during COVID. But without the insight and attention from the Hungarian team, the history and layering that was part of the fabric of life many of them experienced, we would not have succeeded so handily. With them, not only did the show get a new perspective on the '70s, so did I. ADG H. OPULENT MOSCOW RESTAURANT. PRODUCTION STILL. I. HIGH ROLLER POKER CLUB. PRODUCTION STILL. Sara K White, Production Designer Christine Foley, Zsuzsanna Bor vendég, Super vising Art Directors Dániel Miklós, Márton Vörös, Gergö Kukucska, Art Directors Nóra Andrássy, Helga Petro, Balázs S. Bognár, Assistant Art Directors Budai Csaba, Attila Szabó, Marton Taar, Judit Törteli, Kinga Bácsi, Draftspersons Gyöngyvér Kabai, Klaudia Szalma, Annamari Ludvig, Graphic Artists Panni Lutter, Set Decorator E F G H I