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HOODOO LOVE

By Katori Hall

Raven Theatre
Chicago, IL

Directed by: Wardell Julius Clark
Asst. Director: Kiayla Ryann
Music Director: Ricky Harris
Intimacy: Rachel Flesher

Scenic: Sydney Lynne
Lights: Sim Carpenter
Props: Dana Macel
Costumes: Alexis Chaney
Sound: Jeffrey Levin

Photos by Michael Brosilow

PAINT ELEVATION for Candylady’s House — ***PAINT ELEVATION*** for Candylady’s House

ROUGH COLOR SKETCH - initial draft — ***ROUGH COLOR SKETCH*** - initial draft

process

PRO TIP: Use staples to create texture in your drop! — *PRO TIP:* Use staples to create texture in your drop!

BRINGING DOWN THE HOUSE - the final stage of the house collapse — *BRINGING DOWN THE HOUSE -* the final stage of the house collapse

IN THE PRESS

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"Clark, working with his frequent collaborator Sydney Lynne Thomas, doesn’t treat the piece as realism, but as a kind of fever dream, epitomized by Thomas’ sculptured set that emphasizes not just Memphis but the possibility of the train out of town, up to Chicago and a new life… the visual finale that these two artists pull off in this small space is pretty spectacular (it reminded me of Tina Landau’s 2013 production of “Head of Passes” at the Steppenwolf Theatre) . " —- Chris Jones, Chicago Tribune

“A disembodied railroad track lurks behind Toulou’s shack, an ever present reminder of her ever roaming man and the path to her own musical future. Sydney Lynne Thomas’ set design perfectly encapsulates the myriad of troubles holding down the foursome. Everywhere you look there is something to take in. Like the play itself, Thomas’ design is simple only upon first glance” —- Amanda Finn, New City Stage

“Sydney Lynne Thomas’ carefully crafted Depression era shacks and twisted railroad tracks of fate create an impressionistic verisimilitude — and the phenomenal trick lurking within for the play’s explosive climax should not be spoiled, only witnessed” —- Ian Rigg, Chicagoland Musical Theatre

“Sydney Lynne Thomas’ set designs beautifully maximize Raven’s smaller Schwartz Stage – until things literally split open in spectacular fashion at the play’s conclusion” - Peter Thomas Ricci, In the Loop Chicago

“ …scenic designer Sydney Lynne Thomas's work deserves huge credit for one theatrical surprise that's better executed than you often see at this budget level” —- Kris Vire, Storefront Rebellion

“Sydney Lynne Thomas has designed a set that captures the eerie atmosphere and rural setting of a shanty neighborhood, just off Beale Street. “ —- Colin Douglas, Chicago Theatre Review