LL: From the beginning, the design of the show has been “all white everything”: white set, white costumes, and white props; and then featuring an all-Black cast. That’s loosely inspired by a Jean-Michel Basquiat quote about the fine art industry, where he said, “I was just tired of seeing white walls, with white people with white wine, you know?”. I don’t fully feel the same way, but I do understand the feeling of not seeing yourself represented in artistic spaces. More importantly, though, I wanted to work with the unique space that is Theaterlab, not against or in spite of it. I wanted it to feel like the show had just magically materialized in the space and that it could melt away just as quickly. So we really leaned into the all white design elements, which were just beautifully enhanced by the fact that the theater is a white box. The pole in the center of the space is obviously a challenge, but I wanted to acknowledge it instead of ignoring it, so we ran our big dining room table directly through the pole, making it the centerpiece of the table settings with fake candles and all white tableware. With the audience seated on either side in a traverse stage setup and the whole stage bathed in a soft purple light, it made an effect that was very striking and felt reminiscent of just coming inside on a cold, snowy evening. I think it looked very beautiful and really could have only been executed this way in the Theaterlab space.