Monday’s dress rehearsal for The Letter went very, very well. This was the first time that we saw Tom Ford’s costumes on stage, as well as the first time that all of Duane Schuler’s lighting cues were run in sequence. The combination was…well, pretty overwhelming. The Letter really does look like a film noir, only in color and with a transfiguring touch of early-Forties glamour. Between them, Tom, Duane, and Hildegard Bechtler, our set designer, have pulled out all the stops: gleaming white suits, louvered windows, ceiling fans, muslin curtains that billow in the moonlight, dark shadows that criss-cross the stage.
I doubt I’ll be tweeting today–I have a frenetic schedule throughout the day, followed by the first orchestral rehearsal in the evening–but I’ll try to let you know how things went when I get home late tonight. For the moment, though, all systems appear to be go, and then some.
Terry Teachout on the arts in New York City
