{"id":450823,"date":"2026-05-15T20:54:19","date_gmt":"2026-05-15T20:54:19","guid":{"rendered":"https:\/\/www.newsbeep.com\/ie\/450823\/"},"modified":"2026-05-15T20:54:19","modified_gmt":"2026-05-15T20:54:19","slug":"architect-david-rockwell-on-the-design-of-the-fallen-angels-set","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ie\/450823\/","title":{"rendered":"Architect David Rockwell on the Design of the Fallen Angels Set"},"content":{"rendered":"

In our series Sets and the Cities<\/a>, VERANDA Creative Director Victor Maze sits down with the designers behind today\u2019s most captivating theatrical sets\u2014on Broadway, off Broadway, and beyond\u2014to uncover the stories behind their work and the cities that inspire them.<\/p>\n

Whether you realize it or not, you\u2019ve likely encountered David Rockwell\u2019s work before. For more than four decades, his Rockwell Group<\/a> firm has been the creative force behind some of the most design-forward spaces in the world, from W Hotels and Nobu restaurants to the restoration of Grand Central Terminal.<\/p>\n

But unlike most other A-list architects, Rockwell has also shaped the look of Broadway, creating sets for hits like Hairspray, Kinky Boots, and Into the Woods. His scenery for 2016\u2019s She Loves Me earned a Tony Award, and his work on the Oscars has garnered three Emmys. Across disciplines, Rockwell\u2019s projects share a defining quality: Drama, which is also the title of his most recent book.<\/a><\/p>\n

\"LuxuriousCourtesy of MGM Resorts International<\/p>\n

The Chandelier Bar at the Cosmopolitan in Las Vegas, designed by the Rockwell Group<\/p>\n

That theatricality is part of what makes his work so memorable; it is also the reason my husband and I decided to host a cocktail reception the night before our wedding at one of Rockwell\u2019s most transportive creations: the Chandelier Bar at the Cosmopolitan in Las Vegas. Suspended inside a three-story cascade of crystal, the space feels less like a lounge and more like stepping into a set. A decade later, friends still talk about it.<\/p>\n

This year, Rockwell returned to Broadway with No\u00ebl Coward\u2019s Fallen Angels<\/a>. Starring Rose Byrne and Kelli O\u2019Hara, the Roundabout Theatre Company production marks the hilarious play\u2019s first return to Broadway in 70 years\u2014and the debut of the newly renovated Todd Haimes Theatre.<\/p>\n

Earlier this month, the critically acclaimed show was nominated for five Tony Awards<\/a>, including nods for Best Revival of a Play and Best Scenic Design. The setting is a luminous Art Deco\u2013inspired London apartment\u2014elegant, airy, and layered with detail. A few days after opening night, I sat down with Rockwell to discuss the design, along with a few of his favorite places in London and New York.<\/p>\n

\"ArchitectDaniele Venturelli\/\/Getty Images<\/p>\n

Architect and designer David Rockwell was recently nominated for a Tony Award for Fallen Angels.<\/p>\n

THE SET: Fallen Angels\u2014How did you begin the design for Fallen Angels? Where did it start for you? <\/p>\n

The process is actually very similar on every project\u2014we start with a huge amount of research. One of the great gifts of being a set designer is that you\u2019re creating the world in which the story unfolds, and the more you can bring to it\u2014in terms of context, research, unexpected connections\u2014the better. We try not to jump to a predetermined point of view.<\/p>\n

So we read the script closely, looking for as many clues as we can find. I also went to London and spent time with the No\u00ebl Coward estate. They have this beautiful space with lots of research that I could dive into, including a magnificent fainting sofa that I think was a gift from Marlene Dietrich. I really immersed myself in that world.<\/p>\n

\"theaterPaul Warchol for Rockwell Group<\/p>\n

The set for Fallen Angels on Broadway.<\/p>\n

I love how Art Deco the interior feels.<\/p>\n

We looked at Art Deco and also Art Moderne, which was a bit later\u2014but we embraced both of them. Art Deco is traditionally characterized by verticality and opulent materials, while Art Moderne is sleeker and more aerodynamic. The apartment we designed is stylized but highly detailed\u2014a realistic combination of both styles.<\/p>\n

Early conversations with the director Scott Ellis also reminded us that No\u00ebl Coward thought of Fallen Angels as a version of a French farce; Scott was interested in having that kind of acceleration, which led to multiple doors and entrances that could swing both ways. We also looked at onscreen Deco in Cedric Gibbons\u2019s work, as well as Jean-Michel Frank\u2019s Art Deco interiors.<\/p>\n

But ultimately, the first real move was the ground plan, figuring out how to support the action of the play: the sofa, the fireplace, the phone calls, the bedroom upstairs, and the view outside.<\/p>\n

Fallen Angels: Models & Renderings\"aOpen Gallery\"\"How does that research translate into the physical design? <\/p>\n

We start with ground plans, research boards, and color ideas. One key reference was London\u2019s Dorset House, a 1930s Art Deco apartment building in Marylebone. That became a guidepost for us, particularly in shaping the idea of a two-story room with a window\u2014so we feel they\u2019re on an upper floor, looking down, while still sensing there are apartments above it.<\/p>\n

We also discovered the work of a British interior and furniture designer, Betty Joel, which helped shape the tone. Because this is a female-centered play, we wanted a lighter interpretation of the period\u2014less heavy than what you often see. It’s unique to see that combination of Deco\/Moderne flavor with more feminine rose tones, iridescence, and silver leaf. It gives the space a sense of lightness.<\/p>\n

\"ExteriorVictorHuang\/\/Getty Images<\/p>\n

The set\u2019s balcony was inspired by the iconic green railings of Dorset House, a classic Art Deco building in London.<\/p>\n

\"DesignerMiller\/\/Getty Images<\/p>\n

British furniture, textile, and interior designer, Betty Joel poses with her revolving bed in January 1935.<\/p>\n

You must have worked closely with the costume designer\u2014the palettes feel very connected. <\/p>\n

Yes, Jeff Mahshie and I developed a shared material palette early on. He did a fantastic job of picking up on the colors of the set without duplicating them, so the performers still stand out.<\/p>\n

The same is true with lighting. There\u2019s a big shift between acts, and the apartment is lit through a combination of practical fixtures\u2014like a chandelier and sconces, many of which we made\u2014as well as cove lighting. It\u2019s one of the things that makes theater so thrilling: all these influences come together to create a single, memorable stage picture.<\/p>\n

And of course, the director is central to all of it. This is my 11th production with Scott Ellis, and he\u2019s an extraordinary partner. The director not only inspires the design, but really animates it. Even after all these collaborations, I still find him surprising and inspiring.<\/p>\n

\"TwoEvan Zimmerman<\/p>\n

Kelli O\u2019Hara and Rose Byrne star in Fallen Angels on Broadway. Both women received Tony nominations for Best Performance by an Actress in a Leading Role in a Play.<\/p>\n

The set feels incredibly livable\u2014like a place you could actually inhabit. How do you balance that with theatrical illusion? <\/p>\n

Livability is really an illusion onstage. You\u2019re always \u201ccheating\u201d toward the audience. For example, the walls have a slight, gentle curve that makes the space feel deeper than it is. The railing around the stairs, which is one of my favorite details, is not polished stainless steel\u2014it is chrome dipped\u2014but onstage it creates the perfect illusion.<\/p>\n

\"Stylish<\/p>\n

Paul Warchol for Rockwell Group<\/p>\n

We wanted the set to function almost as another character in the play, so believability was key. We scoured the text for things that could make it particular to that time and location. Framed by translucent curtains, the tall windows are what\u2019s called Crittal windows and are paired with a curved balcony\u2014it\u2019s a particular Deco motif. And the mint-green railing you see outside is a specific reference to Dorset House.<\/p>\n

\"Theater<\/p>\n

Paul Warchol for Rockwell Group<\/p>\n

The architecture of the set\u2014the curves, the columns\u2014feels very intentional. <\/p>\n

We always knew we wanted the space to curve, even though that makes it more complicated to build. The columns were part of that from the beginning\u2014they create a logical structure that supports the ceiling, adds scale, and allows us to conceal lighting within the ceiling.<\/p>\n

And there are small details\u2014like stenciling on the columns\u2014that echo the larger pattern on the wall by the bedroom. Something of that size probably wouldn\u2019t have been seen in a traditional Deco apartment, but it provided a large-scale decorative flourish.<\/p>\n

\"Art<\/p>\n

Paul Warchol for Rockwell Group<\/p>\n

\"Stylized<\/p>\n

Paul Warchol for Rockwell Group<\/p>\n

In a sense, are the characters your \u201cclients\u201d when you design a set like this? <\/p>\n

Exactly. These characters are clearly part of the one percent\u2014they don\u2019t need to work, they golf, they plan lunches, they have this fabulous life. The text also tells us these women travel\u2014to Italy, to Paris\u2014so that gave us some insight as we propped the show, collaborating with the amazing prop designer Kathy Fabian.<\/p>\n

We imagined they would be very design-literate, collecting objects from around the world. You can see that in their collections displayed over the fireplace and in travel photographs\u2014such as the Leaning Tower of Pisa on the piano.<\/p>\n

\"Entryway<\/p>\n

Paul Warchol for Rockwell Group<\/p>\n

Are there details you love that audiences might not notice? <\/p>\n

We obsess over every detail. The entrance hallway has a darker, richer wallpaper that most people won\u2019t really see, but it helps shift the atmosphere. The mural of two women is another\u2014it captures the characters subtly.<\/p>\n

More broadly, I think the sense of depth\u2014the feeling that the apartment extends beyond what you see\u2014is something audiences experience without necessarily being aware of it. It provides a sense of airiness.<\/p>\n

\"Entryway<\/p>\n

Paul Warchol for Rockwell Group<\/p>\n

THE CITIES: David Rockwell\u2019s NYC (and London)\u2014What neighborhoods inspire you, either in London, where Fallen Angels is set, or New York, where it is currently playing? <\/p>\n

In London, I\u2019d say Grosvenor Square\u2014it\u2019s just a beautiful place. All of London is so wonderful to walk around, and there are so many different characters.<\/p>\n

In New York, I\u2019d pick Union Square, which is where my office is. It really is a place of spontaneous performance\u2014like an urban theater\u2014with a greenmarket and a great dog run, which we love. Union Square was redesigned by the same people who did Central Park and is one of my favorite spaces because it has kept reinventing itself over the years.<\/p>\n

\"UnionMichael Lee\/\/Getty Images<\/p>\n

Union Square Park in New York City.<\/p>\n

What are some of your favorite restaurants and bars in New York, when it comes to design? <\/p>\n

Bemelmans Bar<\/a> is one of my all-time favorites\u2014you could easily imagine the characters of Fallen Angels there. We also recently completed La T\u00eate d\u2019Or<\/a> for Daniel Boulud\u2014another quintessential New York restaurant that is actually very Art Deco\u2013inspired as well.<\/p>\n

If I had to give one more, it would be a place we just opened this week at 550 Madison Avenue: a 60-foot-tall, multi-bar restaurant called Chimera<\/a>. It\u2019s inside a classic Philip Johnson building from 1984, which was thrilling to work on.<\/p>\n

\"cozyDon Riddle Images<\/p>\n

Bemelmans Bar at The Carlyle, A Rosewood Hotel.<\/p>\n

I normally ask designers about their favorite hotels, but I actually want to ask you about one of my favorites! I love your design for the Civilian Hotel\u2014it feels like such a natural extension of your theater work. <\/p>\n

Civilian<\/a> was a bucket-list project and a real labor of love for me. It seems almost inevitable that it would marry my two greatest passions, hospitality and theater, because I think they\u2019re so inexorably linked to each other.<\/p>\n

From the beginning, we wanted it to be about the theater community, giving people a glimpse of how theater is made and the type of places theater people like to hang out\u2014a chance to peek behind the scenes at what makes theater so special.<\/p>\n

At the heart of it is the Olio Collection, which includes more than 250 pieces of art\u2014sketches, models, costumes\u2014representing more than a century of Broadway history. We built in a partnership with the American Theater Wing, and there are rotating exhibits, like in the blue room, which is redone every two years with a different curator.<\/p>\n

\"stylishJohnny Miller<\/p>\n

The Rosevale Cocktail Room at the Civilian Hotel.<\/p>\n

What other architectural spaces in the city inspire you? <\/p>\n

One thing I suggest people do is walk the blocks between 42nd and 51st Streets, weaving back and forth between Seventh and Eighth avenues. Take in the collection of landmark theaters that have been restored and recognize how amazing that is as a group.<\/p>\n

I would also recommend visiting the High Line. What’s fascinating about walking it is all of the new and interesting buildings that have sprung up around it, like cities used to develop around water access.<\/p>\n

\"HighAlexander Spatari\/\/Getty Images<\/p>\n

New York\u2019s High Line Park.<\/p>\n

Your most recent book is titled Drama. How does that idea inform all of your work, even outside of the theater? <\/p>\n

First, and most importantly, it\u2019s about acknowledging the presence of an audience. Architects usually like to show pictures of their work without the people in them, but in all of our work, we start with people. An empty building\u2014like an empty theater\u2014is inert.<\/p>\n

The other key idea is collaboration. In theater, it takes an entire ensemble to create a single moment, and we believe that\u2019s true of every form of design.<\/p>\n

And finally, it\u2019s about empathy\u2014creating real, physical, connected experiences that offer something fundamentally different from what we experience on screens: spaces that feel alive.<\/p>\n

\"Headshot<\/p>\n

Victor Maze (he\/him) is the creative director of VERANDA, overseeing all visuals for the brand. He has spent more than two decades leading art teams at interior design, travel, and lifestyle magazines around the country. Learn more about Victor\u2019s career in his leadership book Lead Like an Editor<\/a>, which was named an Editor\u2019s Pick and Business Book of the Year in the 2025 Publishers Weekly BookLife Awards. Outside of work, Victor\u2019s passions include travel, pop culture, and theater. Follow him on LinkedIn<\/a> on Instagram<\/a> @victormaze.<\/p>\n