Faced with planning a series of complicated scenic transition moments involving set pieces the size and weight of an MTA bus, I worked with the production team at the Park Avenue Armory to develop a previzualization tool. This tool allowed their choreographer, composers, and set designer to align on expectations and desires around transition moments within this play. Once set, this tool helped train the 6 stagehands to operate heavy-lift electric tuggers to move these set pieces safely and in keeping with the choreographic intentions of the designer.

These transitions then came to be described in a NYTimes review as follows: “Paul Steinberg’s set consists mostly of huge plywood-paneled blocks, as if a giant’s playthings. Lit gorgeously by Mimi Jordan Sherin, they slide and twirl about the huge space in various combinations that fascinate and appall the eye, like de Chirico paintings come to life.”