Otterbein University - Directed by Melissa Lusher
Choreography by Stella Hyatt Kane - Music Direction by Lori-Kay Harvey
Costumes by Anna Grywalski - Lighting Design by Kyle Krygielski
About the Design
I was lucky enough to see the original Broadway run of
Urinetown in 2003. It was my first trip to New York City and
I didn't want to see it. Terrible title. It looked corny. My
roommate at the time convinced me and I spent an entire
matinee laughing–ever since I've loved working on this show.
My first design for it was in 2015 and now I get another chance
to bring the world of Urinetown to life.
Collaborating with Melissa seems to always be fruitful. We have
a great language for finding the world of a play and I was
excited when her initial design feelings matched my own.
Grunge, industrial decay, and dynamic movement were all part
of our conversations around this musical. I wanted the world to
be grim, grey, and garish. The set would feature a lack of color
with only the hints of what it used to be. Any color would
be–obviously–yellow in hue. “It should almost look like it is
sticky” was a phrase I said at an early design meeting.
Beyond the decay I wanted a feeling that we were almost in a
sewer. Much of the design research reflected this. Pipes are
everywhere, though what is in them is a mystery. I also felt that
there should be levels for actors to move all over the stage.
This meant a series of different patterns of movement that
involved stairs, ladders and even possibly a firepole. I love
giving actors a variety of ways to enter and exit a space and
the set for Urinetown features nearly a dozen different routes
through it.
Finally, the world of the Urine Good Company needed to feel
completely foreign from the base set. As you will see it is slick,
shiny, and sparkling. The UGC has none of the struggles of the
citizenry. Theirs is a world of glamour, power, and luxury. It is The Amenity
different and wonderfully theatrical.
(All photos by me unless indicated)