![]() ![]() I did a lot of research into the Mid-century modern architecture that was spreading through Malibu at the time and that led us to this idea of a big house made of real glass-we don't always do that on stage, we often use plastic-to make the reflections incredibly true and so you don't end up with a fun house mirror. How did you balance the hallucinogenic ambiance of the scenes with depicting a fabulous California home of a high society figure? Joan Marcus Flying Over Sunset's trio of characters convene in a fictional oceanfront Malibu estate owned by Clare Boothe Luce to take LSD. Tony Yazbeck, Harry Hadden-Paton, and Carmen Cusack in Flying Over Sunset. At times the set was trying to do something visually beautiful and wonderful and create this fantasy world at other times it was trying to create the vast emptiness that we feel when go into our own spiral in our brain and get trapped in an idea or a fear. ![]() Then for Flying Over Sunset, a made-up story based on real people, I tried to convey how LSD affects the human brain and makes it expand and contract and twist and turn, but also the power of our imaginations and what the mind can do. With POTUS I dug deep into images of the White House over the Biden, Obama, and Bush administrations-not the previous administration-to see what stays the same, what changes from administration to administration, and then picked and chose details that spanned all of them because we weren't trying to make it be any particular president. How did your approach to these projects differ? You're nominated for the set designs of two shows-the play POTUS and the musical Flying Over Sunset-that are so stylistically different. EST, T&C spoke with the scenic designer about how he came up with his masterpieces. But I will certainly stray away from reality when it tells the story better-and in a more exciting way."Īhead of tonight's Tony Awards, which will air on CBS at 8 p.m. "I want to get some details right and be accurate in a way that gives truth to the art. "No matter how much research I do, I remind myself that I'm an artist, not an anthropologist," he says. Even when tasked with recreating the stately interiors of America's most important piece of real estate, Boritt found ways, subtle and otherwise, to infuse a bit of irreverence. In the case of POTUS, a raucous feminist farce about seven extremely capable women tasked with keeping a very incapable commander-in-chief out of trouble, all hell breaks loose in the White House. In Flying Over Sunset-which takes the very true tales of LSD experimentation by actor Cary Grant, playwright-turned-Congresswoman Clare Boothe Luce, and writer Aldous Huxley and imagines what would happen if the three of them got high together-Boritt designed a sprawling Malibu glass house that could double as status symbol and a trippy facade to project the characters' insecurities.īeowulf Boritt, the set designer nominated for Tony Awards for his work on two Broadway shows. While these two productions are wildly different in tone and subject matter, they do share a common visual thread-each is set in a one percenter domicile. The legendary Mel Brooks has called him "a genius guy who does crazy sets," and that is just about the only introduction needed for Beowulf Boritt, the Broadway scenic designer who has won numerous awards-including a Tony in 2014 for Act One–for his visionary point of view, highly imaginative flair, and unapologetically daring approach to his craft.īoritt is now possibly looking at a second (even a third) trophy-as the set mastermind for both the musical Flying Over Sunsetand the play POTUS, he has been nominated for two Tony Awards this year. ![]()
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