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The long list of names of renowned artists associated with it includes conductors such as Kazimierz Kord, Robert Satanowski, Jan Latham-Koenig, Roland Bader and Aurelio Canonici; set designers such as Tadeusz Kantor, Lidia Zamkow, Józef Szajna, Krystyna Zachwatowicz; and a plethora of singers, many of whom began their careers there, including Teresa Żylis-Gara and Wiesław Ochman.
It was based on the novel A Mirror for Witches by Esther Forbes, and consisted of a prologue and five scenes, with music by Denis ApIvor and set design by Norman Adams RA.
Later, he moved into television set design, developing the set for Who Wants to Be a Millionaire?, So You Think You Can Dance, and America's Got Talent.
Next to classic feature films as The Fountainhead and Blade Runner or documentaries about architects as Louis Kahn or Frank Gehry, films are screened about the influence of media on the city, the depiction of cities in film and outstanding set design such as in Silent Running.
Productions were directed by Barnet Kellman, set design by Dean Tschetter, lighting design by Ian Calderon, costume design by Timothy Dunleavy, sound design by Michael Jay, and the stage manager was Andrea Naier.
Directed (and with original conception) by Joe Layton, the set design was by David Mitchell, costume design by Fred Voelpel, lighting design by David Hays, choreography by Frank O'Dowd, musical direction by Mark Hummel, and principal orchestrations by Ralph Burns.
Directed by George C. Wolfe with costumes by Karen Perry, set design by Ricardo Hernandez, lighting by Jules Fisher and Peggy Eisenhauer, the cast included Savion Glover, Duquesnay, Gaines, and Dule Hill.
In 2012, Wool contributed the set design for Moving Parts, a piece conceived by Benjamin Millepied's L.A. Dance Project.
Surviving evidence suggests that Counsel's Opinion had a generous budget and relatively high production values for a British film of the early 1930s, with careful attention being paid to elegant and expensive-looking costuming and set design, and special permission being obtained for location filming in London's Middle Temple.
Set design by Matt Kinley, costumes by Ann Hould-Ward, lighting by Mike Robertson, musical direction by Ian Townsend, sound by Mike Walker, and orchestrations by Sarah Travis.
She now collaborates on everything from the writing of a science fiction novel with fellow artist Philippe Parreno to working with rock singer Alain Bashung on set design.
Reigbert's rendering for the set design for Act V of Drums in the Night, for example, contains a figure standing by the bridge that is very much like Edvard Munch's figure (also standing by a bridge) in his painting of 1893, The Scream.
The rest of the crew had set design and costume by Michael Annals, lighting design Martin Aronstein, musical director and dance and incidental music Peter Howard, music orchestrated and vocal arrangements Don Walker, production manager Tom Porter, stage managers George Rondo and Ellen Wittman, and press by Max Eisen and Carl Samrock.
Another of Peskin's photographs is said to have inspired the set design for the film "Rocky": boxer Carmen Basilio leaping into the arms of his cornermen after knocking out Tony DeMarco in their 1955 welterweight title fight.
In London in 1948 he did set design and saw the work of Balanchine, the Diaghilev's Ballets Russes, and Margot Fonteyn.
He retired after this film, but returned in the mid-90s to work on an adaptation of Black Beauty, as well as First Knight, his first foray into computer assisted set design and his final film.
He studied at the Art Institute in Vilnius (1980–85) in ceramics and theatre set design.
He has written fourteen plays, but is best known for his adaptation of Khaled Hosseini’s novel The Kite Runner, which received five San Francisco Bay Area Theatre Critics Circle Awards: Best Original Script, Best Overall Production for a 300+ seat theatre, as well as awards for Lighting Design, Set Design, and Sound Design.
He also assumed the National Command Post of Agriculture (1967–1971), the Maravilla pizzeria (1967–1968), the set design for Girón (1981) and Dédalo (1991) by choreographer Rosario Cárdenas, and the remodeling of the Caracas restaurant-cafeteria (1997–1998).
The creative team included direction and choreography by Joe Layton, set design by Mark Ravitz, and lighting design by Jules Fisher.
The director was Hassard Short, choreographer Jack Cole, costumes were by Billy Livingston and the set design was by Howard Bay.
Costumes were by Peter Arno and Charles Le Maire, and the set design was by Dale Stetson, based on sketches by Peter Arno.
In 1988, he created his first inflate structure for the set design of the choreographer Marie Chouinard, for the Olympics Arts Festival of Calgary, and started working for Edouard Lock.