We first met Cara when she did costumes for Burning up the Dictionary and we loved her so much that we asked her back for Supergravity and the Eleventh Dimension!
What has been your favorite thing about working on the play so far?
Reading the play I was so impressed by the concepts that I sort of glossed over the characters. The actors, through their hard work, presented me with real people and re-focused the story for me. I love being reminded of the power of their craft, so different from (and so necessary to) my own.
What do you think is the most challenging thing about your design for this show? Why are you looking forward to making it work?
Again, I had some trouble seeing the characters as real people. I realize however that in some ways they AREN’T real; they are the perceptions they have of one another. I’m excited to play with that hyper-reality- another dimension, if you will.
What totally confuses you about physics?
I swear my keys don’t stay where I put them. Where is Einstein’s “law of special places where I left things?”
What’s the weirdest way you’ve ever entered a building?
Looking for another gig, I once walked straight onto the set of an Adam Sandler movie. It was an accident, but if you ever want to do such a thing on purpose I suggest carrying a wrench and wearing a shirt that says “Staff.”
Are you listening to any music to prepare for this show?
The Buke & Gase album “Riposte,” which defies the laws of rhythm (and probably of physics as well.)
Do you have any special relationships with geographic locations (good or bad) like the characters in the play have or had with the cabin?
I’ve worked 7 jobs in Harvard Square. On the one hand if I never had to see the Square again I’d be more than fine with that. On the other hand, I feel like the benevolent queen of a very small kingdom where I know all the street-dwellers personally.
Vagabond Theatre Group 