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"SOMETHING SEEMED TO BURN WITHIN HER LIKE A CONSUMING FLAME.” - GEORGE TYLER, THEATRICAL PRODUCER


about each scene and how they might play, but all our talk of lighting exists only in our minds. A comfort with the unknown, with the ability to be surprised in the room, truly must be one of a lighting designer's greatest strengths. Will any of these initial thoughts make it onto the stage? I cannot wait to find out!


FITZ PATTON—SOUND DESIGN AND ORIGINAL MUSIC The musical world of Bernhardt/Hamlet is synonymous with the world of the orchestra. Which, of course, brings a host of concerns and complexities, as well as rich aural opportunities. The expressive range of the orchestra, its mass and its power, has become a repository for lives lived on an epic scale. The orchestra presents a world that is aurally and visually massive and dimensional. Given that Theresa Rebeck’s play features an intersection of four extraordinary individuals—Sarah Bernhardt, Edmond Rostand, Shakespeare, and the title character in Hamlet—the orchestra suggested to me the power, ambition, tenderness, and courage exemplified by these artists and their work. This was a thrilling discovery because I’ve long wished to return to the orchestra for inspiration. Plays pass through the lives of designers, giving us the opportunity to touch upon aspects of our creative selves in ways that are unique. Bernhardt/Hamlet opened my heart and gave me an instant thrill because it asked me to engage with art and life as boldly and ambitiously as the characters who fill its pages do. If we tell the story well, perhaps you too will look at life from the massive landscape of your exuberant heart. I hope you enjoy the ride.•


Costume design renderings for Bernhardt/Hamlet


BERNHARDT/HAMLET UPSTAGE GUIDE


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