Nora:  A Doll’s House is Stef Smith’s adaptation of Ibsen’s classic. Smith maintains the same plot line but weaves the dimension of time into the piece by having three sets of Nora’s and Christine’s (Mrs. Linde), from 1918 (UK women gain the right to vote), 1968 (UK Abortion Act), and 2018 (#MeToo Movement).  At the proscenium line, three large black frames loomed over the thrust. In response to research and concepts from the scenic designer, we created tubes of light inside the frames that could shift color temperature. To aid the constant changes in time period, I pulled in research of how color temperature shifted from the warmth of candle and gaslight in the early 20th century towards the cooler, fluorescent and LED sources that we see in the world today. The frames and the general wash of the stage shifted in color temperature each time we shifted eras. The show also calls for many moments of isolation - pulling a character out of the realism of the show as they consider their position in the world. In my research, I was inspired by shafts of light (especially through windows) as a method of isolating characters while still maintaining some sense of their physical location. Water is also a motif in play, brought up multiple times throughout in monologues. In key moments where the three Nora’s felt especially desperate, I used swirling templates and harsh sidelight to evoke the feeling of water, wind and ice.