Round & Round

Designers on The Good and The Bad of Working With Turntables 

These days many Broadway producers feel compelled to barrage audiences with as many bells and whistles as possible, particularly in musicals. At a talkback for the 2010 revival of Promises, Promises, one crew member told our group that he worked on the original 1968 production, and back then all Jerry Orbach had to do when performing “She Loves Basketball” was sing the number with some personal movement and little else happening onstage. Now people expect more motion and energy in the background and all around. Turntables can bring a dynamic motion and energy to a show, but they can also present technical and performance challenges for cast and crew. With this in mind, I reached out to four talented scenic designers—Anna Louizos, Beowulf Boritt, David Gallo, and John Lee Beatty—to collect their insights on the topic.

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