“I have been hankering for awhile to do a large-scale production of a classic play. So much of my work is contemporary new works; it's great to flex different muscles. Plus, I hope to bring a little contemporary theatrical energy to an ostensibly period production. Working with Michael has been great. His vast knowledge and comfort with classical repertory give me the freedom to go wild creatively because I can rely on him to keep his eye on the period details and practices that I would otherwise neglect.
It was important to Michael and me that the show looked playful, light and fun. I looked at period dollhouses and toys and experimented with manipulating scale to create a world where objects have slightly toy-like proportions. We also embraced the Neo-Classicism of the period to inspire the warm monochromatic color palette and architectural details and proportions.
I love the Chocolate House the audience sees as they enter the theatre. As a former architecture student, it's fun whenever I can build a whole house from top to bottom, even if the front door is only 5 feet tall!”
Wilson Chin, Set Designer for The Way of the World