Our group has chosen to research Henrick Ibsen's "A Doll's House." We were aloud to stage it anywhere we wanted, and we chose Washington DC. When "A Doll's House" was first produced in 1879, they staged it in Oslo, the capital of Norway. We chose Washington DC to have a more parallel relationship between our production and the first. We also decided to change the mood of the play by setting it in Modern day. Setting the play in modern day helps the audience relate to the play. We hope that setting it in the Capital of the United States in modern times will capture more American audiences and help then appreciate European theatre. We are producing the play in a proscenium style theatre for two reasons. For one thing it is another connection to the original production of the play. During the play, everything takes place in the living room, so it is like looking into the room with a proscenium theatre. You cam see three of the four walls and if it were a thrust or an arena, you would not get the same affect.
             The lighting designer is often a forgotten member of the crew for a play, but it is one of the most important parts. The lighting designer's job is as simple as it sounds, to light up the stage. Many people don't realize that it is much more than just turning on some lights. The lighting designer must know the script and provide correct lighting to fit the play. They have to power to control the mood of the play by the way lights are place, and colors are incorporated. Theatrical illusions are often just lighting tricks, and the enhancement of the actors is brought out through the lighting.
             One famous lighting designer for over forty years is John Bury. John Bury was born in Aberystwyth, Wales in 1925. John grew up exposed to all kinds of theatre including plays to operas. He always wanted to become an actor ever since he was a little boy. His parents
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