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Creating Extraordinary Worlds for Huntington Audiences

Dodge RivalsDodge Miracle at Naples

Alexander Dodge is an award-winning international set and costume designer for musicals, plays, opera, and dance. He has designed productions in New York, Chicago, Los Angeles, and London, as well as 14 productions for the Huntington Theatre Company. We asked Alexander to share his recollections about some of his most memorable designs for the Huntington’s stages.

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Set Designer Alexander Dodge

2005: The Rivals
“The set as drawers in a chest I really thought of more like books on a shelf that could be pulled out. Each one could hold its own little story that would unfold and spill out as it was opened.”

2006: Love’s Labour’s Lost
“I find designing for Shakespeare is often terrifying, but sometimes also very freeing. Director Nicholas Martin loved the idea about climbing on a tree for one scene and we ended up setting most of the play around and inside of this tree.”

2007: Present Laughter
“The most important part of making a set for a comedy is just staying out of its way. I’ve known Brooks Ashmanskas for years, so I knew if I gave him a big bannister to slide down he probably would.”

2008: Boleros for the Disenchanted
“I liked the idea of contrasting the leafy, lush atmosphere of the first act in Puerto Rico with the stark man-made tract home development in Alabama of the second act. I sought to make it feel natural and a bit romantic.”

2009: The Miracle at Naples
“I was actually looking at the overhead views of the winding streets and numerous little squares of Naples on Google Satellite. When I zoomed in on a courtyard it had a forced perspective look which felt appropriate in its compact beauty.”

2012: Good People
“The director Kate Whoriskey and I were driving around South Boston taking pictures for research and we came across stacks of these shipping containers at the harbor. They were so weathered and beautiful but also seemed to be a compelling metaphor when used in an abstract way as the envelope for the play.”

2016: Bedroom Farce
“Though we are always inside three interiors, I thought it would be interesting to see a bit of the exteriors of these places as well. I liked the idea of getting to tell a little more of the story of the class and social structure of all of the characters we meet with the structure of the environment itself."

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Production Photos by T. Charles Erickson


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