SCENIC DESIGN for THE ALLIANCE THEATER PRODUCTION of MILO IMAGINES THE WORLD in ATLANTA, GA
BOOK BY TERRY GUEST
LYRICS BY CHRISTIAN ALBRIGHT
MUSIC BY CHRISTIAN MAGBY
DIRECTED/CHOREOGRAPHED BY DELL HOWLETT
SETS BY JOSH OBERLANDER
COSTUMES BY JAHISE LEBOUEF
LIGHTS BY BEN RAWSON
PROJECTIONS BY BRITTANY BLAND
ADAPTED FROM THE BOOK BY MATT DE LA PEÑA
MILO IMAGINES THE WORLD is a musical adaptation of the beloved children’s book, about a day in the life of Milo and his sister as they travel through the NYC subway to visit their incarcerated mother. On the course of their ride, Milo imagines and sketches the fantastical lives he attributes to the figures around him, including a man who lost his parrot and a boy who is actually a king. When he realizes the boy he thought was a king is also visiting someone at the same correctional facility, he begins to learn not to judge a book by its cover.
The space of MILO was meant to evoke the tiled surfaces of the NYC subway, with moving walls that created different scales of space to evoke its, at-times, labryntine quality. The blue grout and grid pattern on everything was meant to evoke the page of a gridded sketchbook, and also to create a neutral surface where the characters of Milo, the lights and the video, can explode and fill the blank canvas of the space the way Milo fills the page of his sketchbook and draws outside of the lines others follow. Finally, Milo’s blank page cracks open to reveal an intrusion of the real: the cinderblock surface of his mother’s world, though still painted sky blue to evoke the sky and breeze they imagine experiencing together.
MILO IMAGINES THE WORLD
BOOK BY TERRY GUEST
LYRICS BY CHRISTIAN ALBRIGHT
MUSIC BY CHRISTIAN MAGBY
DIRECTED/CHOREOGRAPHED BY DELL HOWLETT
SETS BY JOSH OBERLANDER
COSTUMES BY JAHISE LEBOUEF
LIGHTS BY BEN RAWSON
PROJECTIONS BY BRITTANY BLAND
ADAPTED FROM THE BOOK BY MATT DE LA PEÑA
MILO IMAGINES THE WORLD is a musical adaptation of the beloved children’s book, about a day in the life of Milo and his sister as they travel through the NYC subway to visit their incarcerated mother. On the course of their ride, Milo imagines and sketches the fantastical lives he attributes to the figures around him, including a man who lost his parrot and a boy who is actually a king. When he realizes the boy he thought was a king is also visiting someone at the same correctional facility, he begins to learn not to judge a book by its cover.
The space of MILO was meant to evoke the tiled surfaces of the NYC subway, with moving walls that created different scales of space to evoke its, at-times, labryntine quality. The blue grout and grid pattern on everything was meant to evoke the page of a gridded sketchbook, and also to create a neutral surface where the characters of Milo, the lights and the video, can explode and fill the blank canvas of the space the way Milo fills the page of his sketchbook and draws outside of the lines others follow. Finally, Milo’s blank page cracks open to reveal an intrusion of the real: the cinderblock surface of his mother’s world, though still painted sky blue to evoke the sky and breeze they imagine experiencing together.
FRONT CLOTH -- ELEVATION
