My  concept for this play was to use Shakespeare's setting: the French Renaissance.  I suggested the French court of Louis XIV, with extravagant fashion and an almost mask-like application of makeup.  There's a lot of disguising (or masking) going on in this self-consciously theatrical play (all the world's a stage). Characters hide their true faces and feelings.  Only when their "masks" come off, do they find true love.  This, I believe, helps us to excuse brother Oliver once he flees to the forest, as well as the false duke, once he finds "religion."  Only when Ganymede reveals her(him)self to Orsino as Rosalind can they truly love one another.  I discovered that my Celia, as daughter to the 'false duke', wore the mask of princess fairly awkwardly; she was more truly herself in the forest than the court.

I also wanted the forest to have a journey; I don't find that it's initially welcoming.  The flight into the forest seemed more heroic if during a harsh winter - there's lots of text to support this.  Spring comes as characters find their new homes in the forest, as well as love.  (Oh yeah... I thought the shepherd needed sheep!)

Scenic Design - Keith Harris, Lighting Design - Phil Wooding, Costume/Makeup Design - Misti Bradford, Properties Master - Tracy Hoida .

Photographs courtesy of Don Lintner