So conceptually, you know, this piece is about change, right? And so the idea that changes everything and at the end the day is the thought of entropy, that gradual decline into disorder. And I’m not saying chaos necessarily, but maybe, but it’s disorder. And so suddenly the idea of a simple red line became something that felt like that could be the thing that could work for this. So then it became creating these 13 foot long benches per se that we could all interconnect. So when the show starts, looks like one large unit. So the show starts with three simple lines. You know, you have a red line in the middle and two red lines on the end. These are gonna be used in a way that you’ll get a real sense of clarity at the top of the show. And then they’ll constantly break down into like larger chunks and segments than smaller chunks that eventually you’ll have 32 small red lines all around this field framed by the two large ones that be. And they’ll be used to sit on, stand on, dance on people on them. They’re also s built in storage, so everything goes in and out from underneath them. So we also can easily get all of our effects developed and delivered to the show.
The design of the show is a super minimal quality to it, especially if you look at how the musicians will be costumed from where the set is to, of course, and use what else is at our disposal, which in our case are the graphics on flags to help augment that design story that’s happening. We explore straight lines in order and in disorder. Then we explore no lines that happen, and we start exploring metallics. And at the end of the show, weeks, four curved lines are kind of messy and curved lines that are clear. So put that with the simple red lines and the red lines of the costume. And sometimes we just get a lot of vibration and sometimes we get nice cool flow. So that’s how we’re using all the graphics available to us to try to augment this idea of moving from order to gradual discipline.