Continuing our series of conversations with the Blood Relations cast and crew, we have Michael L. Davenport, the show's costumer, telling us about some difficulties of period pieces and the lengths one goes to solve them.
We sat down with Diana Lobb, director of our upcoming production of Blood Relations, to talk about the show and her vision for it. In this post she talks about Lizzie Borden, both the historical person and the character in the play.
As Jonathan mentioned in his last post, The Merchant of Venice was a collaboration with local jazz musician Tom Nagy. Tom wrote a score to accompany the production; here he is talking about the music and the process of putting it all together.
Our production of The Merchant of Venice makes some bold choices in its setting (the Jazz Age), its conclusion (immediately following the trial), and its costuming (with most of the characters en masque). Director Jonathan Dietrich has shared some of his thoughts behind those choices with us.
It's not easy being a woman in the 19th century, particularly if your family thinks you're incapable of being a “lady”. Knowing the family fortune is being manipulated away, knowing her beloved birds were exterminated for being “a nuisance”, knowing there was absolutely nobody to trust, Lizzie Borden finally snaps — turning an axe against those who wronged her. Did she commit murder? Or did her parents end themselves?