Old Times: Harold Pinter
I felt much more comfortable with this piece once I realized that I should treat it more like a dance piece than like a drama. The physical location of the characters is much less important than the psychological landscape, in which Deeley and Kate are both struggling for a place in reality. At times Kate and Anne share the lit section of the stage, while Deeley roams the outer edges, trying to get in. At other times, Deeley breaks into their space, forcing the light to include him, as well.
I enjoyed designing this show because I got to use Gaslight Green.
|These windows really caught the light well. Each act began with the light hitting and filling the windows, before lighting the rest of the stage.|
|The play started with the visitor, Anne, lit through one of the windows.||
|One of the central themes of Old Times is the power balance, and who is included and excluded. Deeley is often pushed out of their world, and sometimes out of the light, as well.|
|I remember you dead...|
|This was my favorite image from the show. Deeley sits, alone and dejected in GAM 330, Sepia. Behind him, Kate continues her death monologue.|
|Matthew Bourque's scenic design. It allowed to actors to play with levels, and the windows kept the feeling of claustrophobia.|
|Singing and Dancing|
|One of the bright moments. A lot of this play was very dark, visually, so the bright moments really stood out.|
|All about Kate|
|This was one of my favorite effects in the show. Kate (left, drying her hair) is hit with fairly bright light, while Anne is barely lit at all. On stage, it was as if Kate was literally glowing, and lighting the actor actor from her own radiance.|
Deeley is in the back, dark and forgotten.
|I rarely get a chance to use Rosco 388, Gaslight Green, but it really worked well in this final scene.|