If we *had* gotten the ceiling to work, it definitely would've made changeover more complicated.

Millennium opened first, then once Perestroika opened it alternated nights.

There were some two show days on the weekends that were pretty magical.

I had designed a ceiling that would fall in multiple pieces at the end of Millennium Approaches and become the back wall for Perestroika. Unfortunately, we just couldn't make the rigging work and cut it a couple days before opening.

(We did still use two of the pieces for Perestroika.)

The idea was that the play unfolded as a memory in the shell of Gatsby's mansion as it was reclaimed by sand and sea.

Here are some photos from the portfolio of my Associate Designer (and scenic artist!) Sarah Beth Hall.

sarahbethhalldesign.com/the-great-ga...

This photo inspired a set I designed for a stage adaptation of Gatsby about a decade ago.

I really appreciate that @pbsnews.org ended the interview with this graphic.

It captures, in the simplest and starkest terms, the brutal arithmetic driving this country's homelessness catastrophe.

I worked with Baca on over a dozen shows (hard to count how many exactly) including Adam Szymkowicz's Hearts Like Fists and Robert Kauzlaric's stage adaptation of Neverwhere at Know Theatre.

Alternatively: "Oh Lord, This Year."

As a kid in Detroit in the 1920's, my grandpa reportedly stole (borrowed?) both a horse and a Model T on separate occasions.

While everyone in tv is paid for the work upfront, residuals from re-broadcast and physical media sales are a vital piece of the puzzle for actors and writers to make a living. Under the recent SAG contract, actor residuals for shows on streaming platforms *are* related to the success of a show.

In high school, Meijer was our failsafe late night hang out.

A sketch of a spaceship that perhaps could accommodate a thrust stage and audience in its hold.

I loved this production so much. Fantastic work!