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.
Princess Elizabeth is like any other Princess, living the high life and dreaming about her prince, Ronald. One day, a dragon arrives who destroys her castle, kidnaps Ronald, and burns all of her clothes. Left with a paper bag to wear and a trail of bones to find where the dragon went, Elizabeth sets off to outsmart the dragon and win her prince back. The entire family can enjoy this musical adaptation of Robert Munsch's award-winning children's book.