A show like Peter and the Starcatcher has an incredibly specific color palette, which means that we moved a lot of projects through the dye shop for this production,” says costume craftsperson Rachel Pollock.
In our last post, Holly Poe Durbin described her design process from research to working with the costume team. Now, take a look as her creations are brought to life in our production of Peter and the Starcatcher.
Centered around pirates and magic, Peter and the Starcatcher is a fast-paced production, giving actors the joy, and responsibility, of alternating rapidly between multiple characters.
To set the mood for Peter and the Starcatcher, lighting designer Xavier Pierce found inspiration from a variety of places, from his home in New York City and the work of artist Victor Eredel, to pictures and artwork such as the images we see below.
As our production sets sail, we invite you to meet the inventive originators of Peter and the Starcatcher!
Most children have fantasized about flying, and director Brendon Fox was no different. For him, flying meant freedom and exploration, and more importantly, escaping adults….
Through her intricate design of Neverland, scenic designer McKay Coble aims to transport the audience back to their childhood where magic feeds off itself and imagination. She wants to remind adults what it was like to be an imaginative kid and create something complicated out of nothing. “I want them to look at the set and go ‘Oh, I had a tree house like that, I had a fort. I’ve picked up a switch, and it was a sword.'”
We live in an age of revisionist art. A dizzying array of sequels, prequels, remakes, origin stories, samplings, spin-offs and franchises…
It’s rare to discover a profound affinity with an organization—its artistic mission, its community, its artists and its values. But such was the case, I happily found, here at PlayMakers from the first time I stepped off the plane at RDU.
The “brutally hilarious” Seminar has critics and audiences alike raving about this “bitingly funny” show.