The Columnist
Manhattan Theatre Club
Director: Daniel Sullivan
Set Design: John Lee Beatty
Costume Design: Jess Goldstein
Lighting Design: Kenneth Posner
Sound Design and Original Music: John Gromada

Due to the dark transitions in which the projections were used, the photos are less than ideal.  Please contact me if you would like to arrange a viewing of the show at the Lincoln Center Archives.  


Reviews
Projection designer Rocco DiSanti's kaleidoscope of the flying typewriter letters that bridge the visual transitions is stunning.

- Henry Edwards Broadway Bulletin-

John Lee Beatty’s handsome set provides numerous locations with ease and speed, recombining in unpredictable ways while accommodating Rocco DiSanti’s enhancing projections of typewriting that at one memorable point dissolve into softly falling snow. 

-Erik Haagensen Backstage-

Rocco DiSanti’s video projection has bits of datelines and lead sentences streaming across the top of the stage as new scenes begin and in one effect, the lettersmade of light fall onto the scenery like snowflakes. For Joseph Alsop, it was a blizzard — a baby-boom was coming into adulthood and perceiving him as a poster-codger for The Establishment. It may even have been an avalanche.

- Howard Shapiro  Philadelphia Inquirer-

with its seemingly effortless turntable set with the hallucinatory flying typewriter letters by John Lee Beatty [sic] digs swiftly and stylishly into the intersections of the personal and the political.

-Broadway World-

Sullivan’s Manhattan Theatre Club production is hard to fault, with the action moving at a brisk pace on John Lee Beatty’s handsomely detailed revolving sets, dotted with floating typeface during scene changes.

- David Rooney The Hollywood Reporter-
 
The experience of “The Columnist” is enhanced by Rocco DiSanti’s gentle projection design, excerpts from Joe Alsop’s writing as if they were being typed in light.

- Jonathan Mandell The Faster Times-

Kenneth Posner’s lighting, John Gromada’s original music, and Rocco DiSanti’s effective projections of floating alphabet letters enhance the play.

-WMNR Fine Arts Radio-

the swift transitions between scenes are marked by excerpts from Alsop's columns, seen in projections designed by Rocco DiSanti.

-David Barbour Lighting and Sound America-


"JOHN LEE BEATTY’s handsome set, ROCCO DiSANTI’s enhancing projections, JESS GOLDSTEIN’s spot-on period costumes, KENNETH POSNER’s lighting, and JOHN GROMADA’s original music and sound design complete A NOTABLY POLISHED PHYSICAL PRODUCTION.

                                                         - BACKSTAGE-