My  concept for this play surprisingly 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 true feelings.  Only when their "masks" come off, do they find true love.  This also, I believe, helps to excuse brother Oliver, once he flees to the forest, as well as the false duke, once he finds "religion" - both shedding the pretense of courtlife. 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 as well.

​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 taken 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... and I thought the shepherd needed sheep! They were big puppets.)

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

Photographs courtesy of Don Lintner