broadway set design

“"oh dear evan hansen’s lighting and set design is so simple omg!1!!!”“ like?? bitch where ?? the lighting and set design of dear evan hansen is one of the most complicated, intricate, and innovative that has ever been on broadway.


show curtains

legally blonde // lion king // hello, dolly // sweeney todd // matilda // wicked // something rotten // sunset boulevard // book of mormon // gentelman’s guide


This is for the “problem-solving” theatre kids or those interested in going into Theatrical Set and/or Prop design, or for those that are just purely interested in this kind of thing.


The set of the August Wilson play “Jitney” brings Pittsburgh to life vibrantly [X]

“If the gypsy-cab drivers who work out of the storefront office at 2046 Wylie Avenue are hungry, they can fill up on prime rib at the Red Bull Inn. The Super 71 drive-in is a hot spot for the latest disaster movie. For something more racy, there’s the L’amoure Theater (“It’s Better Than Burlesque”). And of course a Pirates game and an Iron City beer make for a perfectly Pittsburgh pairing.

That, at least, is how the created world of August Wilson’s “Jitney,” now on Broadway, looks through the eyes of its set designer, David Gallo. The 1982 play, running through March 12 at the Samuel J. Friedman Theater, takes place in 1977 inside a car-service dispatch in Pittsburgh’s Hill District, the vibrant but troubled black neighborhood where most of Mr. Wilson’s plays are set. (“Jitney,” directed by Ruben Santiago-Hudson, is the last of Wilson’s 10-play cycle about African-American lives in the 20th century to make it to Broadway.) It’s a run-down place where the drivers sit on a worn couch to gossip and wait for fares, and where family demons between the company’s owner and his ex-con son come out to play.”

fandomwasteland  asked:

hello... Im so sorry to bother you but from following you recently i have come to realize that you are the place to go for any and all info regarding the great comet and my best friend and I are planning to go see in in August. We are debating buying the on stage tickets but we are a little worried that we are going to miss some of the action if we do so... what do you recommend?

Hello! It’s no bother at all! We’re happy to hear that you’re thinking about seeing the show. 

Since the show often uses a lot of the theater’s space and there’s a lot of action happening at once in some numbers (ex. The Opera, The Abduction), you will miss some of the action regardless of where you sit. 

For example, if you sit in the orchestra, you won’t be able to see much of the actors performing when they go to the mezzanine. 

The same goes to sitting in the mezzanine. In the mezzanine you’ll be able to see the entire stage and actors that perform in the mezzanine (ex. during The Opera, another opera scene is performed in the mezzanine section), but you may not be able to see actors performing in the orchestra aisles. 

If you sit onstage you may be able to interact with some of the characters and see out into the orchestra and mezzanine, but you might miss something important happening on stage with all the action happening around you. 

So there’s pros and cons of any seating section in the show. If you need some further guidance, Playbill wrote a seating guide for seats in the front mezzanine, orchestra and onstage sections (banquette and tavern table). It includes pictures of the theater from the point of view of an audience member sitting in each section. It goes on to list the advantages and disadvantages of each section. 

Whether you sit onstage, the orchestra, or mezzanine, you’ll have a different experience. It all comes down to your preference and what you think would be the best for you. 

We hope this helps! 


People who have never seen a show live are true theatre fans

People who have only seen movie productions of musicals are true theatre fans

People who only know the “mainstream” shows are true theatre fans

People who don’t know many shows are true theatre fans

People whose favorite musical is Phantom, Les Misérables, or Wicked ate true theatre fans


People who don’t plan to go into theatre as a career are true thespians

People who only do theatre with their schools are true Thespians

People who can’t be a part of shows for whatever reason are still theatre people

We all share a deep appreciation for the arts, so why do we have to go around being dicks to each other because some of us choose to appreciate it in a different way, sometimes the only way we can?

That will be all

Originally posted by colbertreport