Purple and yellow lights used frequently. Intended to compliment movement. In ‘Shadows’, shadows move on the screen, with one dancer in front and one behind, and a third dancer aiming a lantern at them. In ‘Hands of Time’, there is a ‘bow tie’ lighting shape. Stage Left is brighter than Stage Right and the screen is lit from behind, showing the giant hand. Designed by Mark Parry.
Box set, backdrop created with projection/film. Benches on three sides. Sand on the stage. Screen Upstage, used for projection and shadows. Paper screen Downstage, used in several ways (ripped, ‘planted’, etc). Slings hanging from the frame at the top. Designed by Simon Doorman
In ‘Hands of Time’... Lifts on the ‘ding’ of the bellm Fast and driving (8 beats in bar), to match the athletic movements, Drops to the floor on the low, punchy, ‘foghorn’ sounds, Throughout ‘Perfect’... Electronic with heavy bass. Composed by Sophy Smith and Tim Dickinson.
In ‘Hands of Time’... Women in straight/keyhole/high neck black dresses, to show femininity and accentuate movements, Men in white linen/cotton shirts and black cotton trousers, to contrast and show masculinity. In ‘Overture’... Vanessa in white cotton tunic and Junior in white shirt and white trousers, to show purity and innocence and to suggest they are ‘spirits’ of time, They contrast with Helen, who is in black. Designed by Claire Armitage
In ‘Overture’... Sped-up everyday footage (traffic, etc) to show the rushing of time Contrasts to slower, calmer footage (man on park bench, the beach) to show people taking their time Moves gradually from morning to evening. In ‘Hands of Time’... Giant hand manipulates dancers, hitting/squashing/flicking them. Designed by Caroline Bridges