Michael Schewikardt’s set conjures a very specific locale while maintaining a transparent theatricality. This is accomplished with the aid of…Aaron Rhyne’s ingenious projections, which broaden the show’s visual elan.
The technical aspects of the production are top-drawer. Michael Schweikardt’s multi-level lighthouse set creates a marvelous backdrop for the action, aided immensely by Aaron Rhyne’s projection design.
I have noted how effectively projection designer Aaron Rhyne’s projections have enhanced other productions (i.e. Working and Bonnie and Clyde) and here he works his magic again, filling the space behind the lighthouse with seascapes, military planes, and especially evanescent ghosts.
Edge Los Angeles