T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 30, N OV EM B ER 2 0 1 8
impeded when certain fabrics absorb water or wick away moisture—or want someone wet one scene and dry the next. “This is where theatre magic steps in and we practice our ideas until they create the desired effect or the vision is tweaked to accommodate what’s possible,” she said.
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For Big Love, the costume shop practiced multiple scenarios, yet water never behaves quite the same way twice. Kulovany reiterated the collaborative theme when explaining how difficult the element is to control. “As is the case with most efforts in theatre, communication is key. Talk early. Talk often. Figure out if everyone is still on the same page during the entire process. This is the only way water doesn’t become [our] worst enemy.” While Big Love examines some of the world’s most enduring questions about love and marriage, incorporating water into the production was slightly easier to solve. “Everyone has to agree on these things,” said Hanna. “It’s a super fun project to work on as long as everyone knows about it from the beginning. We could never just add it at the end!”
Big Love, by Charles Mee Directed by Eric Prince November 9, 10, 15, 16, 7:30 p.m.; matinees on November 11, 17, 2 p.m. Studio Theatre, University Center for the Arts Tickets: csuartstickets.com
Dan Minzer lighting the water in order to determine if projected blood was feasible.