“We found that in updating this story we had a perfect opportunity to show some culture clash and some class clash,” said Teague. “The hilarity comes in when they’re thrust together.”
Kelley Rourke, the dramaturge at the Glimmerglass Festival, has also updated the libretto to reflect the change in setting.
Another aspect of the show’s design that is notable is that the stage transforms between the first and second act, as the second act consists of the opera the performers are preparing to perform in the first.
“The whole place is transformed in act two into a more magical place,” said Hourie. “It’s actually the thing that makes it the most exciting.”
Hourie has been working on the show since February 2013, while Teague has been working on it since August of last year.
Teague, who has worked in the costuming field for about 10 years and is based in Washington D.C., has a long-running relationship with the Glimmerglass Festival. He first came to Glimmerglass in 2009 and worked as a costume shop buyer.
“My first season in Glimmerglass I fell in love with the place,” said Teague.
Teague returned to Glimmerglass in 2011 and 2012 to serve as the festival’s craft shop manager, and was the costume designer for last year’s production of The Flying Dutchman.
Hourie, who is based out of Toronto and has been a set designer for about 16 years, said that it has been a longtime goal of his to work at the Glimmerglass Festival.
“It’s been a highlight of my career already,” said Hourie.
Hourie also works as an installation artist, and he said that he tends to design for only two shows a year. Both he and Teague, however, expressed a desire to work with the Glimmerglass Festival again in the future.