2. Big Love by Charles L. Mee is a Greek tragedy
depicting the art of feminism and the right to love.
3. The theme of the play can set the mood, which correlates with the
different design elements.
SET DESIGN
Because of the feminist aspect of
the play, the girls are not afraid to
flaunt what they have. The main
set can be the bathtub where
Lydia is bathing and people begin
walking in LIGHT DESIGN
Because of the play’s
depiction of the right to
love, soft (lower
intensity), warm-toned
lighting can be used
during the romantic
scenes between Lydia and
Nikos
COSTUME DESIGN
Because of the feminist aspect
of the play, most of the girls
can be wearing wedding
dresses, but on the more
conservative side.
4. The director is essentially the editor of the entire play. He
overlooks all the aspects of putting the play together like:
>Choosing the script
>Selecting the cast
>Shaping the spine
>Finding the style
>Developing the directional concept
5. Usually the director chooses the script to which he or she feels a
deep connection to. We chose the play Big Love because of it’s
modern take on a old-time problem (arranged
marriages/forbidden love), as well as the twist in domestic
violence. A woman hurting a man is less spoken of than a man
hurting a woman.
6. ANGELINA JOLIE - Thyona: Bride, angry feminist
ANNE HATHAWAY - Olympia: Bride, polar opposite of Thyona
AMANDA SEYFRIED - Lydia: Bride, middle ground between her two sisters
VIN DIESEL - Constantine: Groom, the ultimate misogynist
JUSTIN BARTHA - Oed: Groom, not very bright
JOSH DALLAS - Nikos: Groom, longs for a real connection with his bride
SEAN MAGUIRE - Piero: Owner of the Italian manor providing sanctuary to brides
MERYL STREEP - Bella: Mother of Piero
GABRIEL MANN - Giuliano: Son of Piero
7. Big Love is a play about fifty girls who flee from their city to
avoid marrying their cousins due to a contract created before any
of them were born. The grooms are for following tradition and
culture. The brides are against arranged marriages.
The spine of the play of is “tradition vs. modernity.”
8. The style of Big Love is “selective realism.” Selective Realism is
essentially when the play is meant to resemble real life, but not
all the time.
The issue of arranged marriages, right to love, and domestic
violence are still issues today, but having 50 sisters is highly
unlikely.
9. The directional concept is essentially what the director
would want the audience to take away from the play.
The directional concept of Big Love is “the struggle
between traditional and modern life.”
