AMERICAN THEATRE: For 25 years, as Eugene’s friend, colleague, and mentee, I’ve been known to playfully distort my vocal cords to imitate his kooky sensibility and insight when I am seeking inspiration. What would Eugene do? I expect to ask myself that question for the rest of my life, as I strive to grow and collaborate on my future endeavors. Luckily I have countless conversations and stories to reference, each a lesson and a mystery, and his passionate can-do spirit to guide me.
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I was so saddened to hear about Lee’s death the other week, especially since he’s an alumnus. I find Eugene’s sentiment of hating scenery but loving theatre so fascinating and counterintuitive. I really hope at some point in the future, a version of his autobiography is published. I would love to read it and get into his mind and process. Firstly, I have always been in awe of the set of Wicked. It is fiercely creative and innovative, and the dragon is practically incomparable. But moreover, I would love to hear about what it’s truly like to be the production designer of SNL for over 40 years. SNL has that stressful, ephemeral quality, and has to or has had to harbor practically every kind of set. You notice there are certain repeated sets used for sketches (the classroom is a big one that comes to mind), but more often than not, there are whole new environments necessary for just one sketch. The other week, they did a parody of Avatar 2, and needed an entire jungle set. That can’t be trivial to put together in a week.
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