Of course the visual style of this work is quite Seusian. It is also somewhat traditional in its form. The setting consists of a series of stacked platform elements that spiral through the stage space. They are very crisply wrought with no extraneous bracing. They are tied to the earth, but also have an element of floating.

Through this environment are placed a series of forms, not unlike traditional cut drops. Up stage is a full-stage cut drop with a cyc behind. The layering and forms allowed the set to have a light reactive quality.

Broad playing spaces could be used as a unit, or as simultaneous settings. Costumes and lighting also closely supported each other in form and color.

If we look at the nature of this society, and especially at the foundation of power, we find a very weak foundation indeed. This is the connection with Seuss. As the director realized, in Seuss, these fantastical worlds are often in the end, supported at only one weak point. We are always amazed in Seuss, that these worlds can stand up at all. It is as though one tiny breath can topple all.

What a wonderful, direct, clear, parallel this provides to the world of this emperor. His world is built on a lie. The foundation of his power is most weak. In the end it is not a coup, or a battle that brings down this emperor, but the innocent small-voiced cry of a child.

Of course in this world of fantasy, as in our own, those within the construct of majesty just cannot seem to see how fragile the foundation really is.

My task as a designer was to provide the visual manifestation of this theme. I also worked to support a sinuous flow of movement and energy through the space. This space is a machine for action and for the flow of movement energy. In the design I worked hard too, to provide a world true to itself, while also serving in contrast to the reality of the world at the Schacht Auditorium!