THE WESTERN FILM GENRE AND THE AMERICAN FRONTIER MYTH
Fall 2015
SAMPLE Full Sentence Outline and Partially Annotated Bibliography DUE WEDNESDAY, NOV. 4
1.
Thesis (in the form of a statement OR question) such as: a.) The scenic designs for Company reveal diverse concepts and
interpretations by different production teams. Analyze some examples to support this thesis. b.) How do scene designs from
different productions of Company impact the way we understand and experience the musical in production?
2.
Boris Aronson’s 1970 scene design for the original production emphasized the character’s isolation from each other
a. Multi-level rectangular enclosures, mimicking New York City apartments, literally put the actors in boxes.
b. The use of elevators further separated and isolated the performers.
3.
Tony Walton’s 1995 Roundabout Production projected slick urban landscape (production restored “Marry Me A Little”).
a. Art Deco-inspired style that featured two-tiered construction of black glass, chrome, mirrors and stairways.
b. Highly adaptable space that allowed the show to move with speed from the more intimate scenes to the all-hands-onstage production numbers.
4.
David Gallo’s design for the 2006 revival emphasized claustrophobia.
a. The small, square stage created a sense of enclosure and forced the actors into continual close proximity.
b. The use of a central pillar gave a “basement” feel to the space and further emphasized a feeling of constriction and
crowding
5.
James Noone’s design for the 2011 New York Philharmonic production emphasized the concept of interchangeability.
a. A few modular rolling platforms created multiple spaces; none was individualized to a particular location.
b. Use of rectangular lines and neutral colors further emphasized the interchangeability of spaces and hence of the
relationships contained within them.
6.
Overview of what these diverse scenic designs reveal about Company—in terms of what features they share and what makes
them original and distinctive.
a. All four interpretations use transformational space to convey the feeling of life in New York City.
b. Interpretations effectively convey Robert’s sense of isolation and alienation but use different methods.
Annotated list of sources (fictitious):
Frost, Jack. Stephen Sondheim: A Casebook. Musical Drama Publishing Co., 2000.
In this follow-up study to Sondheim’s Early musicals, Frost’s casebook features 12 essays that cover a wide range of topics,
including an analysis of various production designs. This book describes Aronson’s creative process with Sondheim and
Prince in developing the scene design concept, particularly the elevators.
John, Elton. “Transformational Space in Sondheim Musicals.” Theatre Design and Technology, Vol. 62, pps. 36-61.
This journal article covers the technology employed in Aaronson’s designs for Company—how the elevator became a
central feature, both practical and conceptual, of the scenery.
Sample, David. “The Prevalence of Theatre Projections.” American Theatre, July 2012
This article traces the use of projections in stage design over the past decade, including examples from Assassins and other
Sondheim musicals. Sample emphasizes how flexible lighting, including projections, can function as a significant conceptual
element in production design.
Sondheim, Stephen and Furth, George. “Company starring Neal Patrick Harris 2011”. Videorecording. Youtube.com, Posted May 30,
2013. Web. Accessed April 14, 2015.
New York Philharmonic’s “limited” production directed by Lonny Price and designed by James Noone.