A Note from The School of Lies Scenic Director

You walk a very interesting line designing The School For Lies. This play embraces the period in which the source material was written, but there is also a certain level of modernity to it. How do you accomplish this balance?

John Lee Beatty (Scenic Designer): In trying to reconcile the two periods, today and the 1600’s of Moliere, the attempt is made to covey information in a way that is common to both periods, while popping forward the actors. The wealth of the house is shown by it’s scale rather than by ornament, and the “quilted linen” look overall is common to taste of both periods. And then we make small references to the theater of Moliere’s time, with footlights and a chandelier overhead. Oddly, this is a period in France when the French emulated the Dutch, so I felt an “authentic” look would be a bit misleading in the first place.