We sat down with Tesshi Nakagawa to learn about the set design process for The Piano Lesson.
How did you first get started as a set designer? Do you have a set design origin story?
I first got into set design when I was a high school student in Japan, after seeing Japanese productions of Broadway musicals such as The Phantom of the Opera, Les Misérables, and Beauty and the Beast etc. in Tokyo. I was captivated by how those massive set pieces moved so effortlessly and magically with the music, as if they were dancing on the stage alongside the performers, transforming the scenes like a pop-up book come to life. Although I was deeply drawn to it, I hesitated to pursue Theater Arts in college, questioning how I would make a living with such a degree, especially since there weren’t many theater programs in Japan at the time. Lacking the courage to follow my passion, I chose to study Economics instead, a more traditional and popular path for men in Japan. During my college years, I traveled extensively across Asia, Europe, and of course, the United States. It was on Broadway, the ‘mecca’ of theater, where I saw The Phantom of the Opera at the Majestic Theater, and tears filled my eyes as I stood in ovation long after the house lights came up. In that moment, I knew without a doubt what I was meant to do with my life and where I was meant to be. Since then, I’ve been unwavering in my path, pursuing scenic design with all my heart.
Previous to The Piano Lesson, have you ever designed an August Wilson play? The Piano Lesson is set in 1930’s Pittsburgh. Have you ever been to Pittsburgh? How are you capturing the city of Pittsburgh in your design?
This is my very first time designing an August Wilson play, and I’ve never been to Pittsburgh. So, the first step in my design process involved extensive research into the historical background of the Black community in Pittsburgh, as well as the mood, character, and style of the city in 1930s. During my research, I discovered images of the Hill District, a historic African American neighborhood in Pittsburgh, characterized by small, narrow townhouses clustered on the hillside. That image immediately resonated with me, and I realized it would be a perfect fit for our ANW theater stage, which features a long, deep, and narrow thrust stage that extends out into the audience. That townhouse shape not only complements the stage dimensions but also offers a unique and intriguing perspective for the audience, allowing them to peer into a long, narrow house on stage.
There is a repeated ghostly presence throughout the play. How does the presence of ghosts impact your design?
The ghost is one of the most challenging aspects of the production, and I absolutely don’t want to spoil anything—hahaha! While I can’t reveal too much about the theatrical magic we’re planning, I can say that it will be a big collaboration between set, sound, lighting, and, of course, the actors’ performances to make the ghostly actions feel alive and believable. During the rehearsal process, I’m sure we’ll come up with even more great ideas to bring these supernatural elements to life.