NK: We have seven moving lights on the show. ART happened to have moving lights there from past productions so I used them. They ended up being very helpful to light the fire escape and little moments that I couldn’t get to with other lights. They were Martin MAC Viper Profiles. We also have four Martin TW1s on the show.

I feel, and felt at the time, that the play really deserved to be lit with incandescent lighting—nothing that feels like it is from today, especially because there are so many layers of memory and time. All of that is dealt with by different kinds of light—different color, different angles. It felt like it shouldn’t have any kind of modern lighting fixtures in it.

There is a strong color motif. Tom, whenever he is narrating, is in a cool blue. When he is talking about his family, they are always in an incandescent warm glow. We knew we had to separate the two worlds in terms of narration and when he is in his own memory. We knew it was going to be done in warm and cool, and then organically it happened that [the actors] were sitting next to each other.

The fire escape takes on its own character throughout the piece. It represents a lot of ideas. That’s what I find so incredible about Bob’s work; it’s never just one idea. It touches you so universally, layer upon layer. He leaves it ambiguous enough that people can project their feelings onto his scenery.

LD: Who built the set?
It was all built at ART. Hudson [Scenic] did a bit of refurb on it here in New York.

LD: What’s next for each of you?
Aladdin for Disney—we are off to Toronto in about three weeks. We will open that in Toronto just before Thanksgiving, and it will come to Broadway next spring.

NK: There’s a tour of Once starting in Providence and also Aladdin. Bob and I are also doing a ballet together at the Royal Opera House based on Shakespeare’s The Winter’s Tale, choreographed by Christopher Wheeldon, with new music by Joby Talbot. It is a completely new commissioned piece.