GABRIEL FIRESTONE SCENIC DESIGN
Disney's AIDA the musical
strongest suit fortune favors the brave
aida scenic design
Audience enters to see hieroglyphic papyrus scrim with curtain warmers.
Act One Prologue: Amneris ignites the stage in the dream-like atmosphere and acts as narrator for the story to come. Aida and Radames are introduced.
Radames and his soldiers on the Egyptian slave barge. Sail is a kabuki drop with practical ropes.
A more intimate moment between Aida and Radames as his soldiers keep watch.
Radames and his men bring back Aida and other Nubian women as Egyptian slaves. Sail is "docked" stage right as papyrus and reeds set the scene at the Nile's edge.
Zoser and his ministers meet in the palace war room. Columns and walls track on.
As the traitor is caught, the stage is cleared of scenery and Zoser and the ministers dance.
Mare meets Aida in one of the palace's many halls. Columns and walls play on a diagonal angle reinforced with light.
A sheer venetian drape is illuminated with watery reflections from the Egyptian baths as Amneris and the Egyptian women lounge.
Amneris and the Egyptian women venture from the baths to her wardrobe to prepare for the evening's celebratory feast. Obelisk display cases feature crowns and jewels.
The Egyptian women help Amneris model her clothing in a fashion show. Dramatic lighting and strobing camera flashes will keep this number fresh and lively.
After the celebration, Radomes and Aida sing together about sailing and begin to develop feelings for each other. This scene is played on an angle.
Amneris and Aida lament the inhuman expectations of being princesses. Amneris' closet is now barren, stripped of the clothes she uses to hide her insecurities.
A large wooden restraining wall represents the Nubian slave encampment during "Dance of the Robe" and "The Gods Love Nubia".
AIDA - Elton John and Tim Rice
Cleveland Musical Theatre
July 2015 workshop, Full production Sumer 2016
Director: Miles Sternfeld