Adam DeBacker
At the beginning of the play, I would have a projection of Lodz Ghetto shown in iridescent green undertones.
Simultaneously, a fire will be ignited underneath the projection for the effect of the Holocaust.
The actors in the first scene are rising from the ashes.
As the fire is ignited and burns larger, a holographic projection of a phoenix emerges from the ashes and flies around the theater.
I thought of a phoenix (in a dream actually) because it is the mythical bird that lives hundreds of years, then burns itself to rise from the ashes and live another life. It is a symbol of rebirth, idealism and hope, which I think ultimately in a contemporary view of history, this play represents.
As the flame or spark of the fire burns out, the phoenix flies back into the flame, the stage lights for Indecent come up and sparks of hope for both the retelling of God of Vengeance as well as the undying hope and love of Refekle and Minke.
As Indecent is being told, and having frequent “blinks of time” reflecting to the short snippets to The God of Vengeance scenes, each play would have one base color with different shades. I have chosen red for Indecent and Orange for The God of Vengeance. So all of the scenes for The God of Vengeance would have tones of orange and the same for Indecent, but in red. As the play progresses, the base colors slowly get brighter and brighter until it is the same color as the flame of the fire. (in my mind this is the climax of the play at the holocaust.)
At the end of the play as Shlom and Madje move to Connecticut, the warm tones blend to cast a sunset across the back of the stage. As the sunset is on the horizon or backdrop, I imagine the colors of the rainbow taking form in the night sky as the rain dance is starting to take form.
I imagine as the rain is coming down, a rainbow is cast through the cascade of running water.
This is the final image for the play.