The other show in rep shared the space but different upstage arrangement. An RP plastic and scrim fly in downstage of the back wall (painted white so it now acts as a bounce for the RP. Six revolving panels (text on one side, mirrors on the other) each have their own color changing light.
This is one of the first rough renderings. In this idea for the opening the Duke is introduced to us through his reflection in the mirror. The trick was to get the mirror texture on the panels to work like a real mirror. I got them to reflect images in them the right way, but ,alas, I never got them to reflect light back away from them.
This was the opening that the director (Doug Wager) staged in rehearsal. AN isolated Duke with the panels turned to mirrors in a way to allow as much of the audience as possible to see the same thing. One of the initial tests was done in the virtual 3D environment.
Real life
One of the tricks learned from the renderings was to keep the form lit so the mirrors could see it. It worked in real life, too.
We fist meet Isabella in a soft, oversized window image.
I have a real life image, but there's a limit to how many times Genevieve Perrier can appear in an enticing diagonal backlight on one's web site.
The jail scene. I used to 3D to see if I could really make tight, isolated shots. It solved several problems that wouldn't have been found out until after we got into the theater.
Real life.
Dan Kern doing it proper