They weren't there at the beginning. And so the motion picture camera was invented around 1890. And for a long time, for a number of years, the typical shot was what's called the proscenium arch shot, which is to say as if the camera were set in amid the audience, looking up at the action taking place on stage. All of these other shots and the cutting and so forth, all that happened gradually over a period of years. It wasn't really consolidated until about 1915. And in fact, it was 1910
It's weird that our court system that has "in God we trust" on the money and wants to put the ten commandments inside the proscenium . Now we lie; out in the real world, we tell the truth.
And the fact that we're doing it in the round is so revelatory. I've only seen it in a proscenium sort of situation, so this is great, because it's really about a dialogue between the audience and the actors. And this cast, they are spectacular.
Anybody? Yeah, Sam-- Sam the director. We did it-- a thrust stage, and then proscenium at The Public. Part of it is Sam loves working in the round.
I have to invest and learn every single thing about her. there, to the Daryl Roth, which is this beautiful proscenium , so everything is displayed out in front.
And they just came on stage and did this quote from Agnes de Mille, which I'm now going to demonstrate without a skirt. And I just want you to know that there is a model being built for a version in a proscenium space, because that's how we're going to go
could have a really interesting role there. And so we asked ourselves this question about whether or not the show could exist in a more traditional proscenium -style theater. And so from there, we started this really quite bizarre process of what I call proof of concept where Pete and Sonny had to really think about, well,
But the movie's telling you in the beginning. She comes out of the bathroom, and she's in the center of the proscenium . She's on the stage already, even though she's in the bowels of a building in the bathroom.
Loved the character. Found every character in the show to be very relatable even in a contemporary environment. And just-- I had read a blurb that they were thinking of bringing this to a proscenium , that they were thinking of transforming a Broadway theater. And I think for those of us that had loved the show for a long time, we all kind of were equally excited and maybe a little skeptical about,
Yeah, it's a completely different staging in London. They did it on a regular stage, like what you would say is a proscenium stage. But here we sort of made the decision to, or I guess I made the decision to, sort of use the audience as part of the experience.
And even if that person isn't there, it's like they're there. And that's a whole new age for us at musicals, because you can do it very, very differently than the traditional proscenium arch, which requires that there is focus.
That's like a visual memory that stuck with me since then. Great. Well, we don't have-- I mean, we have one or two overhead lights, but the normal sort of proscenium arch and so on, we've thrown away. So I wanted to ask a couple of quick questions about other things you might have considered bringing back to use again.
And in the meantime, we have I've come to call the "horseless carriage" phase. Transitional, obviously, when we don't really understand the possibilities of the new technology. As with the proscenium arch shot, we just continue doing what we've done in the past. But it's not just a question of seeing the new in terms of the old. It's also defining the new in terms of what it's lacking rather than what it can become. So, I think that's