WE ARE LADY PARTS PRODUC T I ON .
CENTRE STAGE The show’s music numbers are shot with raucous energy and a dreamlike sensibility
to illuminate. I placed lights through the rails of clothes, and they would fade in and out – but we also wanted them to move through the clothing. This was realised as an optical effect, created through the clever placement of mirrors in the back.” The movement of the scene creates a dizzying experience, masking the transition between the bedroom and wardrobe sets. “We decided to transition by zooming in on the poster of Don McLean inside the wardrobe, and then moving away. We had so
Amina returns home, feeling dejected and unloved as her search for a husband isn’t going to plan. In a Narnia-esque twist, she opens her closet to reveal a fantastical safe place to express her melancholy. Usually stricken by debilitating stage fright, Amina is able to perform her own rendition of Man of Constant Sorrow – accompanied by sock puppets, of course. To achieve this desired dreamlike effect, Olifirova had to be savvy with her equipment. “The set was essentially a long corridor, with clothes stretching out either side. It was technically very challenging
“Some things are hard to just imagine, you have to try them... It doesn’t have to be locked in”
GIRL POWER Exploring the lives of twenty-something Muslim women with punk music makes for engaging viewing
13. MARCH 2022
Powered by FlippingBook