DIY was the guiding principle for dots, a three-person design collective, for director Sam Pinkleton’s revival of Richard O’Brien’s 1973 cult-favorite musical. The story revolves around Dr. Frank-N-Furter, a flamboyant and fluid scientist who welcomes two naive, unexpected guests into his mysterious mansion.
“We wanted to create a world where Frank had his hands on everything, like he made it all himself,” said Kimie Nishikawa, speaking on behalf of her collaborators Santiago Orjuela-Laverde and Andrew Moerdyk, who have collectively been up for a Tony twice before.
Frank’s lair features funky metallic fabric curtains, painted mannequins, coil silver duct work, plastic skeletons, tin foil, tinsel, 3-D printed models of Frank’s castle, and a descending moon that nods, time warp-style, to Studio 54’s history as a decadent disco. It’s all meant to look a little ratty, but it’s all carefully conceived.
“The ducting was about funneling energy to Frank’s lab. The mannequins came from the idea that Frank wanted more people at his party,” said Nishikawa, “so he made his own guests.”
That party starts immediately upon entering Studio 54, which is cast in an eerie green glow. “Sam was very keen on transforming the whole theatre. As soon as you walk in, it has to feel different. It had to give freedom to people to be themselves.”
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