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WELCOME
to Claire Lambe's Art Journal
Art reviews and articles written by Claire Lambe for Roll Magazine Online
The Last Word: A Report on the Retirement of Maurizio Cattelan
15: Artists from Ulster County
+
Claire Lambe's Artwork
09 March 2015 @ 12:31 pm
WELCOME
to Claire Lambe's Art Journal
Art reviews and articles written by Claire Lambe for Roll Magazine Online
08 March 2014 @ 09:50 am
Artist's Statement
I work in a couple of different and, seemingly, contradictory modes: representational portraits and studies in oil, graphite, and ink and wash - now also experimenting with "open" acrylics; and semi-abstract pieces usually in acrylic and mixed media. I say "seemingly" since to me they are not so different - the portraits particularly demand an attention to detail and nuance that, when I am in the process, is utterly abstract, perhaps more so than the mixed media compositions, while they in turn have their genesis in narrative.
The mixed media pieces are about the nebulousness of memory. I begin with a clear image from my memory, or what I think is my memory - perhaps I only dreamed it or perhaps it is a story told to me by someone else but has become part of my cache of memories complete with its cast of characters and contextual background. I gather evidence - the evidence can be photographs, letters, recipes, snippets from newspapers and magazines, lists from the phone book, passages drawn from literature, and drawings. In the making of the artwork I add and subtract, create, destroy and that evidence. In the process of the destroying I am always trying to hold back, or save, details, as you would on waking from a dream that is dissolving even as you try to grasp and hold on to it. Sometimes the holding on is successful and sometimes it is not - sometimes the process will not allow it and sometimes the process produces unexpected details and images. Memory is a funny thing - there will be faces and events, colors and places, not necessarily the important ones, that remain in clear focus in our minds while others become shadowy and hard to grasp like the dream that dissolves on waking, yet even when the memory disappears beyond reach, it leaves a residue: the ghost of a feeling; of a mood: an atmosphere. These are common experiences to all of us and this is the line of inquiry I take as I work on the paintings.
The portraits are less cerebral but more intense exercises. My primary interest with them is to also capture a mood; a moment. I would say that the main difference between the two art forms is that they exercise different muscles and in ways that are difficult to define, at least briefly, they inform each other.
As a theater designer, in addition to serving the script, I am always striving to attain a "less is more" result - always difficult but I am very fortunate that our budget ensures that I cannot stray too far from that imperative. To me, the perfect set design is symbolic, ideally where one or two objects or items of furniture would stand for a whole room, house, landscape or planet - the audience then has the freedom to invent what's missing. We (The Woodstock Players) partly exist to produce my partner's plays - one per year anyway - so the ideas for the set emerge even as the play is being written, but we do also produce other people's work and, without - I hope - running roughshod over the author's wishes, it is terrific fun to re-imagine the world in which a play that has been around the houses, is set. One example is American Buffalo, by David Mamet, which is quite naturalistic, the script calls for clutter - it is set in a junk shop which is largely destroyed at the end of the play. My solution there was to create a tight set piece that was taller than it was wide to represent the claustrophobia of a cluttered junk shop with stacks of shelves crowded together in the center of the stage through which the actors came and went. The play was performed in two radically different venues - the first, a conventional black box theater where I was able to use flats, including a window flat, and a door to create an almost Gothic effect. The second venue was essentially a gallery space and all white; this forced me back to the symbolic and I pared the set right back to its essential ingredients to exciting effect lending truth to the acclaimed theater designer Jocelyn Herbert's observation that "physical limitations and budget restrictions can, sometimes, result in a more interesting or imaginative production..."
For more about my theater work, please go to the Theatre Design page, and you can also learn more about the company by clicking HERE.
07 March 2010 @ 09:01 pm
Mixed Media Works on Canvas
Media includes drawing, acrylic paint, photographs, maps, letters, image transfers
Recent review of group show HERE
Installation shots from Go, Go, Go, Said The Bird at the Kleinert/James Art Center in Woodstock, 2010
Media includes drawing, acrylic paint, photographs, maps, letters, image transfers
Recent review of group show HERE
Installation shots from Go, Go, Go, Said The Bird at the Kleinert/James Art Center in Woodstock, 2010
Arteries in White 60"x48" - Acrylic + Paper on canvas
Arteries in White: detail
Lost Time, 48"x48" - Acrylic + Mixed Media on Canvas
Lost Time: detail
The Wedding Portrait, 48"x48" - Acrylic + Mixed Media on Canvas
The Wedding Portrait: details
Fall Ophelia - 36"x48"
The Uninvited Guest, 60 x 48" - Acrylic and Mixed Media on Canvas
Feast I, 24"x24" Feast II, 24"x24"
Untitled, 24"x24" - mixed media on canvas
Show Me The Way, 60"x48" - Acrylic and Mixed Media on Canvas (unavailable)
Show Me The Way: details (unavailable)
Hell From A Distance, 48"x48" - Acrylic and mixed media on Canvas
Island, 48"x48" - Acrylic + mixed media on Canvas (unavailable)
Highways, 40" x 30" - Acrylic and Map on Canvas (unavailable)
Spider, 30"x30" - Acrylic and Map on Canvas (unavailable)
Road Map, 40"x 30" (unavailable)
The Kiss, 48 x 48" - Acrylic on Canvas (unavailable)
Away Alone A Last A Loved, 36" x 48" - Mixed Media on Canvas
The Sorceress aka Genesis, 60 x 48" - Acrylic + Mixed Media on Canvas
The Sorceress/Genesis - detail
Stages of Svasana:Triptych, 60" x 60" - Acrylic and Oil on Canvas
Stages of Svasana: detail
Untitled, 60" x 48" - Acrylic and map on canvas
Stages of Svasana: detail
Untitled, 60" x 48" - Acrylic and map on canvas
06 March 2010 @ 07:15 pm
PORTRAITS
Works are oil on canvas unless otherwise stated
Helena, 2012 - Open acrylics on linen. L to R: work in progress, finished
Chiara - 14"x11" - 2009
Musician I Musician II - Oil on Board
Young man from the Ukraine - (unavailable)
The Traveler Girl
The Traveler
Young Woman Young Woman (#2)
Carey At Work 2009
Carey At Work: detail
Works are oil on canvas unless otherwise stated
Helena, 2012 - Open acrylics on linen. L to R: work in progress, finished
Chiara - 14"x11" - 2009
Musician I Musician II - Oil on Board
Young man from the Ukraine - (unavailable)
The Traveler Girl
The Traveler
Young Woman Young Woman (#2)
Carey At Work 2009
Carey At Work: detail
05 March 2010 @ 08:19 pm
Drawings
Following is a selection of drawings from 2010 to the present - the works at the bottom of the page shows how some drawings that formed the basis of posters for productions for The Woodstock Players Theater Company.
Hedgerow Specimen - 14"x11" - graphite on paper 2012
"Fall with Scissors" - 22" x 30" - ink and collage on paper 2012
"New Species" - 22" x 30" - Ink and collage on paper 2012
"Rock Paper Scissors" - Installation Plan
(Below) the titles of the four studies of T.S. Eliot refer to poems he wrote at different stages of his life as echoed in the portraits themselves. The text is drawn from those particular poems. Giclee (archival pigmented inkjet) prints are available for the first three T.S. Eliot drawings.
T.S. Eliot - from The Four Quartets T.S. Eliot - Gerontion
20 x 16", actual image is 14 x 11" 20 x 16" total, image is 14 x 11"
Graphite on Paper Graphite (Giclee only available)
T.S. Eliot - The Love Song T.S. Eliot - I Don't Know About Gods
20"x16" framed. Mixed Media 14"x11" - 3 D Mixed Media
(Original unavailable - Giclee is available) (Unavailable)
Following is a selection of drawings from 2010 to the present - the works at the bottom of the page shows how some drawings that formed the basis of posters for productions for The Woodstock Players Theater Company.
Hedgerow Specimen - 14"x11" - graphite on paper 2012
"Fall with Scissors" - 22" x 30" - ink and collage on paper 2012
"New Species" - 22" x 30" - Ink and collage on paper 2012
"Rock Paper Scissors" - Installation Plan
(Below) the titles of the four studies of T.S. Eliot refer to poems he wrote at different stages of his life as echoed in the portraits themselves. The text is drawn from those particular poems. Giclee (archival pigmented inkjet) prints are available for the first three T.S. Eliot drawings.
T.S. Eliot - from The Four Quartets T.S. Eliot - Gerontion
20 x 16", actual image is 14 x 11" 20 x 16" total, image is 14 x 11"
Graphite on Paper Graphite (Giclee only available)
T.S. Eliot - The Love Song T.S. Eliot - I Don't Know About Gods
20"x16" framed. Mixed Media 14"x11" - 3 D Mixed Media
(Original unavailable - Giclee is available) (Unavailable)
Je suis le ténébreux
24"x18" total paper - image is 14"11", Graphite on Paper
24"x18" total paper - image is 14"11", Graphite on Paper
"Gerontion" and "From the Four Quartets" framed
Je suis le ténébreux
24"x18" total paper - image is 14"11", Graphite on Paper
Life Studies:
Study, charcoal, March 2010
Life studies, March 2010
Life studies, March 2010
Trey, study in charcoal - April 2010
Trey - study for painting - charcoal, April 2010
Trey - study for painting - graphite, April 2010
Carey Harrison as The Magus
Graphite on paper - May 2010
Poster for the play "MAGUS"
written and directed by Carey Harrison
Designs by Claire Lambe - June 2010
Mikhail Horowitz as Baruch Spinoza
Graphite on paper, May 2011, study for poster
Poster for "MIDGET IN A CATSUIT RECITING SPINOZA" - June 2011
04 March 2010 @ 08:14 pm
Biography
[Scroll down for my Resume]
I am a painter, theater designer, writer, educator, and a dab hand at growing organic veg. I was raised in Clonmel, a small town in southern Ireland. My connection to art started early enough that I was earmarked for a life as an artist from when I was still a child. After high school, I studied graphic design at the Crawford School of Art in Cork City, Ireland but after two years I left to experiment with other life-styles and to travel. I spent substantial periods of time in the UK, Holland, and Greece. Eventually I returned to my studies at Ireland's National College of Art and Design in Dublin, switching to Fine Art.
As a student I supported myself as a sign writer, a DJ, and a portraitist. After graduation, I remained in Dublin and became an art teacher dividing my time between the Pembroke School and St. Kilian's German School and, later, swapping the Pembroke for the Dublin Tutorial Center in Dublin. I taught up to A level art and worked with students on portfolio preparation. In 1996 I relocated with my family to the United States; we settled in the Park Slope area of Brooklyn. In 2001 we moved to upstate New York to the famed art colony town of Woodstock. In addition to working in my art studio, I manage a theater company The Woodstock Players which my husband, Carey Harrison, and I founded together in 2010 - I am the company manager and designer. I also write about art for Roll, an on-line arts magazine servicing the Hudson Valley: http://www.rollmagazine.com/?p=1398
Résumé
Education
2001: MFA in painting: City University of New York, Brooklyn.
1986: Graduate Diploma for Teachers of Art, and Design:
National College of Art & Design, Dublin, Ireland
1985: BFA Honors in print-making, minors in Art History and Film Appreciation: National College of Art & Design, Dublin, Ireland.
1977: Graphic Design: Crawford School of Art, Cork, Ireland.
SELECTED EXHIBITIONS
2012: The Muroff Kotlar Visual Arts Gallery, SUNY Ulster - juried show.
2012,11,10: The Byrdcliffe Guild Member Show, Woodstock, NY
2010: The Kleinert/James Art Center, Woodstock, NY – two person
2006, 05: Open Studio, 1835 Glasco Turnpike, Woodstock, NY
2001: Brooklyn War Memorial, Brooklyn, NY - group
2001: Brooklyn College, Brooklyn, NY - MFA candidates.
2001: Hunter College, Manhattan: NYS MFA candidates: - juried
1994, 92, 91: Grogan’s Annual Art Exhibition, Dublin, Ireland
1992: Oireachtas Exhibition, Guinness Hop Store, Dublin - group
1991, 90: Irish National Portrait Exhibition, Arnott's, Dublin - juried.
1990: Royal Hibernian Academy Gallery, Dublin - group
1986: NCAD Decade Show, Guinness Hop Store, Dublin – group
1986: BFA Thesis Show, NCAD, Thomas St, Dublin.
1985: Bank of Ireland, Baggot St, Dublin, award winner's show
sponsored by Arks LTD, Dublin.
1984, 83: The Aegean Gallery, Paros, Greece – solo
1984: College of Commerce, Rathmines, Dublin – group
THEATER
2010-present: The Woodstock Players Theater Company: co-founder, company manager and designer: website, graphic design, costume and set design.
2009: Worked with Manhattan based Untitled Theater Company 61 to bring productions to the Byrdcliffe Theater in Woodstock, NY
SELECTED PUBLICATIONS
2012: Roll, the on-line arts magazine: contributing art reviewer www.rollmagazine.com
2005: “Teens In Europe: An Anthology of Teenage Life,” (contributing author), published by Greenwood Press
1985: The Sunday Tribune (Irish national Sunday)- magazine section: color illustration
AWARDS
2002: The Tedi and Orville Moyes Award for Painting, CUNY Brooklyn, NY.
1989: St. Mary's of Donnybrook: recognition for excellence in Art Education.
1985: Arks LTD for Fine Art Print - work included in their collection.
1981–86: NCAD Scholarship Awards
1976: Bird’s Award for young artists: first and second prize
PRESS
2011: Wombat's World - blog review: favorable mention for costume + set for MAGUS, a play produced by The Woodstock Players in Rhinebeck.
2010: The Woodstock Times: article with reproduction for art event at The Kleinert/James Art Center in Woodstock, NY
1994: The Irish Independent (national newspaper): favorable mention in review of Grogan's Annual Art Exhibition.
1991: The Irish Times: (national newspaper): op-ed article with reproduction on a submission in the National Portrait Exhibition
1989: The Irish Independent: School Survey: article on The Pembroke School for its high school art program (designed and taught by Claire Lambe) as being among the best available in Dublin for that year.
03 March 2010 @ 09:57 pm
enquiries? contact:
Claire Lambe
Claire Lambe
34 Easton Lane
Woodstock
NY 12498
USA
Tel: (+) 845 679 1242
Cell: 845 901 2893
clairelambe@hotmail.com
Woodstock
NY 12498
USA
Tel: (+) 845 679 1242
Cell: 845 901 2893
clairelambe@hotmail.com
03 March 2010 @ 09:34 pm
THEATER DESIGN
Installation Pix
This page contain graphics, and drawings, and photos from my theater design work with The Woodstock Players, and also notes about the productions and, of course, design decisions.
*Click HERE to link to THE WOODSTOCK PLAYERS website*
January 2012
Below: Set Design sketch for American Buffalo
The completed set for the black box theater at CPA Rhinebeck, NY
The junk shop with back lighting
Ideas for costumes
Below, Carey Harrison as Donny Dubrow, Alex Bennett as Bobby, and Thomas Vernier as Teach
When we moved the production to the Kleinert/Jamers Art Center in Woodstock
we decided not to bring the flats but just have a more pared down symbolic set especially as it would be set against a white background
The center set piece installed in a white space - lighting created shadows on the walls
June 2011
MIDGET IN A CATSUIT RECITING SPINOZA
Design: Set, Costumes & Properties by Claire Lambe
The play - a play within a play within a play; a surreal fantasia - was set against a very simple set made up of benches with hooks on slats above for hanging clothing - it was both a back-stage (theater) dressing room and later a changing room in Auchwitz - white against the blacks. There was also a screen on which slides of Salvador Dali's paintings, rendered in black and white, were projected onto a screen - the slide changed with each scene. The palette was primarily black, white and red.
Above scene: Salvador Dali at a party in Munich 1937
L to R: Mikhail Horowitz as a waiter/Baruch Spinoza/Idle Jack, Mick O'Brien as Salvador Dali/Adolf Hitler/King Rat/concentration camp prisoner, Violet Snow as Katya/Nazi Guard/Rat/concentration camp prisoner, Terri Mateer as a waiter/Nazi Guard/Rat/concentration camp prisoner.
Below: Kris Lundberg as Mary Jane Hammond from Ohio and as Dick Whittington
Above scene: the "Party" party - slide: Leda and the Swan, Dalí
Dalí makes the acquaintance of Mary Jane Hammond/Hartmann from Ohio
The party and the guests fade into the shadows as Dalí discovers what an American Jewish girl is doing in war-time Munich
Dalí unveils of the painting: Midget in a Catsuit reciting Spinoza
The painting: Midget in a Catsuit Reciting Spinoza by Claire (Salvadore Dalí) Lambe
The script dictated that the painting had to dictate certain elements including a cat and a waterfall, both of which were problematic. Dalí didn't often use domestic animals so I decided to incorporate the cat into the landscape in a pose similar to the Panto cat we meet at the beginning of the play (who recites Spinoza). The cat's tongue is a path that becomes a scroll (possibly with Spinoza's words written on it) and then a waterfall that is representative of Mary Jane's pre-raphelite hair. The rocks and boats in the water make up Mary Jane's face. The watermelon is referenced in the play when Hitler, at the tea-party, tries to get Mary Jane to taste some of Lenin's brain which he has acquired from the Moscow Brain Research Institute, and which he tells her tastes like watermelon. So I was thrilled to discover that Dalí had included a watermelon, not unlike this one, in one of his still life paintings.
Sketch for costume for Hermann Goering - as the same actor doubles as the cook Mrs. Sausagemacher in the panto sections, I decided to make Goering's famous white suit a chef's suit and, as he is still a bit of a pantomime Nazi, felt his medals ought to be huge. On right is Richard Bennett as Goring.
Slide: Cow by Savador Dalí
Below: Carey Harrison as Karl Schmitt - nazi ideologue. Slide: Three Spinxes
The dressing room benches become supports for the Nazi flags.
Mikhail Horowitz as Baruch Spinoza in late 17th century costume
Preparing for afternoon tea with A. Hitle - Mary Jane has to wear a nice German dirndl dress. The rats' costume's are cinched at the waist with belts, hats and arm bands added for the rats to become Hitler's personal guards. Slide: Still Life Moving Fast
Adolf plays "Mother"
Unveiling of the painting: Midget in a Catsuit reciting Spinoza
Final Scene: Spinoza survives the Gas Chamber - slide: The Persistence of Memory gradually changes to full color during this scene.
June 2010
MAGUS was set in the garden of the palace of the Holy Roman Emperor, Rudolf II of Prague, where various characters were visiting including the magician (magus) Sir John Dee, a young William Shakespeare, Cervantes and a time-traveling Franz Kafka whose mission it is to rescue his sister Ottla from her delusions that she is married to the Emperor. Therefore the costumes required were from the 17th century and from the 20th century. The play was performed in two different venues so there were some changes to the set as one stage was a good deal larger than the other.
MODEL FOR THEATER SET: MAGUS - JUNE 2010 (Also models of actors for blocking).
As the play was set in the mind of a disturbed woman, or her distraught brother, I wanted the set to be like a drawing that is caught half way between becoming three dimensional. So the elements: the bench and the fawn especially were a combination of 2D and 3D.
THE MAIN SET at The CENTER for Performing Arts in Rhinebeck
The set in the Rhinebeck theater with George Conrad (left) who played Franz Kafka.
Below: image of Prague projected on cylorama as the Pre-set in the Rhinebeck production.
The left side of the set in the Byrdcliffe Theater - the set is much more pared down
Also in Byrdcliff but not Rhinebeck were the "watchers" - three faces that echoed the audience. In Rhinebeck we gave up the watchers in favor of having the cyclorama.
L to R: Wiley Gorn as Shakespeare, Peter Rae as Kafka, Trey Kay as Cervantes
Above: Brittany Sokolowski as Ottla Kafka
(This is a good view of the fawn - it is set against a back-lit reverse-painted screen which I happened to have in my garage.) Wiley Gorn as William Shakespeare and the arcangel Uriel, with Kris Lundberg as Jane Dee and Deborah Tiberio as Joan Kelly.
Carey Harrison as Sir John Dee (magus) and Phillip X Levine as Edward Kelly
Mark Kanter as Emperor Rudolf II and Peter Rae as Franz Kafka
Rudi Azank as William Shakespeare in MAGUS 2.
Below: KAFKA'S BUG MASK - left as a work in progress
I gave this mask as a keepsake to the actor, Peter Rae and so had to make a second, and I have to say, better, version when we reprised the play the following winter. One of these days I'll get it on here.
Click HERE to link with THE WOODSTOCK PLAYERS website
Installation Pix
This page contain graphics, and drawings, and photos from my theater design work with The Woodstock Players, and also notes about the productions and, of course, design decisions.
*Click HERE to link to THE WOODSTOCK PLAYERS website*
January 2012
Below: Set Design sketch for American Buffalo
The completed set for the black box theater at CPA Rhinebeck, NY
The junk shop with back lighting
Ideas for costumes
Below, Carey Harrison as Donny Dubrow, Alex Bennett as Bobby, and Thomas Vernier as Teach
When we moved the production to the Kleinert/Jamers Art Center in Woodstock
we decided not to bring the flats but just have a more pared down symbolic set especially as it would be set against a white background
The center set piece installed in a white space - lighting created shadows on the walls
June 2011
MIDGET IN A CATSUIT RECITING SPINOZA
Design: Set, Costumes & Properties by Claire Lambe
The play - a play within a play within a play; a surreal fantasia - was set against a very simple set made up of benches with hooks on slats above for hanging clothing - it was both a back-stage (theater) dressing room and later a changing room in Auchwitz - white against the blacks. There was also a screen on which slides of Salvador Dali's paintings, rendered in black and white, were projected onto a screen - the slide changed with each scene. The palette was primarily black, white and red.
Above scene: Salvador Dali at a party in Munich 1937
L to R: Mikhail Horowitz as a waiter/Baruch Spinoza/Idle Jack, Mick O'Brien as Salvador Dali/Adolf Hitler/King Rat/concentration camp prisoner, Violet Snow as Katya/Nazi Guard/Rat/concentration camp prisoner, Terri Mateer as a waiter/Nazi Guard/Rat/concentration camp prisoner.
Below: Kris Lundberg as Mary Jane Hammond from Ohio and as Dick Whittington
Above scene: the "Party" party - slide: Leda and the Swan, Dalí
Dalí makes the acquaintance of Mary Jane Hammond/Hartmann from Ohio
The party and the guests fade into the shadows as Dalí discovers what an American Jewish girl is doing in war-time Munich
Dalí unveils of the painting: Midget in a Catsuit reciting Spinoza
The painting: Midget in a Catsuit Reciting Spinoza by Claire (Salvadore Dalí) Lambe
The script dictated that the painting had to dictate certain elements including a cat and a waterfall, both of which were problematic. Dalí didn't often use domestic animals so I decided to incorporate the cat into the landscape in a pose similar to the Panto cat we meet at the beginning of the play (who recites Spinoza). The cat's tongue is a path that becomes a scroll (possibly with Spinoza's words written on it) and then a waterfall that is representative of Mary Jane's pre-raphelite hair. The rocks and boats in the water make up Mary Jane's face. The watermelon is referenced in the play when Hitler, at the tea-party, tries to get Mary Jane to taste some of Lenin's brain which he has acquired from the Moscow Brain Research Institute, and which he tells her tastes like watermelon. So I was thrilled to discover that Dalí had included a watermelon, not unlike this one, in one of his still life paintings.
Sketch for costume for Hermann Goering - as the same actor doubles as the cook Mrs. Sausagemacher in the panto sections, I decided to make Goering's famous white suit a chef's suit and, as he is still a bit of a pantomime Nazi, felt his medals ought to be huge. On right is Richard Bennett as Goring.
Slide: Cow by Savador Dalí
Below: Carey Harrison as Karl Schmitt - nazi ideologue. Slide: Three Spinxes
The dressing room benches become supports for the Nazi flags.
Mikhail Horowitz as Baruch Spinoza in late 17th century costume
Preparing for afternoon tea with A. Hitle - Mary Jane has to wear a nice German dirndl dress. The rats' costume's are cinched at the waist with belts, hats and arm bands added for the rats to become Hitler's personal guards. Slide: Still Life Moving Fast
Adolf plays "Mother"
Unveiling of the painting: Midget in a Catsuit reciting Spinoza
Final Scene: Spinoza survives the Gas Chamber - slide: The Persistence of Memory gradually changes to full color during this scene.
June 2010
MAGUS was set in the garden of the palace of the Holy Roman Emperor, Rudolf II of Prague, where various characters were visiting including the magician (magus) Sir John Dee, a young William Shakespeare, Cervantes and a time-traveling Franz Kafka whose mission it is to rescue his sister Ottla from her delusions that she is married to the Emperor. Therefore the costumes required were from the 17th century and from the 20th century. The play was performed in two different venues so there were some changes to the set as one stage was a good deal larger than the other.
MODEL FOR THEATER SET: MAGUS - JUNE 2010 (Also models of actors for blocking).
As the play was set in the mind of a disturbed woman, or her distraught brother, I wanted the set to be like a drawing that is caught half way between becoming three dimensional. So the elements: the bench and the fawn especially were a combination of 2D and 3D.
THE MAIN SET at The CENTER for Performing Arts in Rhinebeck
The set in the Rhinebeck theater with George Conrad (left) who played Franz Kafka.
Below: image of Prague projected on cylorama as the Pre-set in the Rhinebeck production.
The left side of the set in the Byrdcliffe Theater - the set is much more pared down
Also in Byrdcliff but not Rhinebeck were the "watchers" - three faces that echoed the audience. In Rhinebeck we gave up the watchers in favor of having the cyclorama.
L to R: Wiley Gorn as Shakespeare, Peter Rae as Kafka, Trey Kay as Cervantes
Above: Brittany Sokolowski as Ottla Kafka
(This is a good view of the fawn - it is set against a back-lit reverse-painted screen which I happened to have in my garage.) Wiley Gorn as William Shakespeare and the arcangel Uriel, with Kris Lundberg as Jane Dee and Deborah Tiberio as Joan Kelly.
Carey Harrison as Sir John Dee (magus) and Phillip X Levine as Edward Kelly
Mark Kanter as Emperor Rudolf II and Peter Rae as Franz Kafka
Rudi Azank as William Shakespeare in MAGUS 2.
Below: KAFKA'S BUG MASK - left as a work in progress
I gave this mask as a keepsake to the actor, Peter Rae and so had to make a second, and I have to say, better, version when we reprised the play the following winter. One of these days I'll get it on here.
Click HERE to link with THE WOODSTOCK PLAYERS website
