Physical environments for plays come from many inspirations within the mind of the designer. The paths to the worlds they are charged to create are always unique. Every show has a final destination visually and the journey that the scenic designer takes always relies on the guides that bring them to this solution.

 

When I am confronted with a new and challenging work to configure, it is often simply words on a sheet of paper. We call it "the script." The Fall of Heaven script was sent to me via three of my greatest artistic friends and collaborators: Ed Stern, Marion McClinton and Phil Rundle of the Cincinnati Playhouse. After years of working with these three gifted individuals,  I was confronted by them with a play they all felt was something that was "just my style" and I continue to curse them for thinking of me in that way. I say that it was a curse because the making of a world for The Fall of Heaven has been really, really challenging. Then again, good art only comes when we challenge ourselves as we have never done before.

 

In truth, it has been a challenge I have relished. Who other than your friends can force you to confront your demons? Some would think that the process may have been eased by the fact that I actually live in Harlem and the obvious architectural details are among me every day. However, the twisting of Harlem reality into the brilliant mind and soul of the characters that Mr. Mosley has written made it more of a creative architectural exercise. The play shows giants and angels at war with their own survival. My contribution has been to illustrate the battle of heaven versus hell in the most simple of ways while considering the ramifications of a total loss, should the devil prevail. I also have considered what would transpire should things remain the same. Let's hope the devil does not have friends as strong as me.