Jean-Luc Godard’s film noir and the street photography of Henri Cartier-Bresson don’t spring to mind when thinking about a 17th-century Molière farce, but when Mark Wing-Davey set his production of A School For Wives in the 1950s and early 1960s, he looked to these mid-century artists for the play about a pompous, older man who attempts to groom his innocent ward into a perfect wife for himself.
Director Kacie Smith was wary. Sure, she could stage a play without words, in the tradition of the black-and-white films of Charlie Chaplin and Buster Keaton. But seriously, was it even possible to stage a play with live actors in black and white?
In our last issue, three designers shared their thoughts about how directors affect their process. Now, four directors—Joe Dowling, Molly Smith, Henry Wishcamper, and Evan Yionoulis—talk about the impact of collaborating with designers.