2017
Copyright 2017 - All rights reserved. No part of this publication may be reproduced, stored in a retrieval
system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or
otherwise without the prior permission from the artist or his representative.
Alexander L. Okun E-Mail: [email protected]
Dedicated to all my family
Alex & Lucy Okun
Special thanks to Lyudmila Grine-v-Okun, my supporter, my biggest helper, like-minded colleague,
great scenic painter and at the same time my dear wife! Without her this book would not exist.
ALEXANDER OKUN
Scenic & Costume Designer
Alexander Okun began his career in 1965 at the Moscow Art Theater, where he
designed several productions by A. Chekhov and F. Dostoevsky for several years.
He designed sets and costumes for more than eighty productions including
Puccini’s “Turandot” opera at the Royal Albert Hall in London; “Last Summer in
Chulimsk” by A. Vampilov at the Moscow Ermolova Theater, where Mr Okun was
awarded the prestigious USSR’s Ministry of Culture Award (equivalent to the Tony
Award); and he won first place for “Best Production” at the International Copernicus
Drama Festival for “End of Book Number Six” by E. Brashkevich at the Moscow
Maykovsky Theater.
Alexander Okun immigrated to the US in 1981 and has designed over forty
productions nationwide. Among them are “Three Sisters” by A. Chekhov at the
Arena Stage in Washington, D.C., directed by Zelda Fichandler; “Transported Heads”
at the Philadelphia Music Festival and the Lincoln Center in New York City, directed
by Julie Taymur; the Broadway musical “Roza” in Baltimore, Los Angeles and New
York City, directed by Harold Prince; “Cyrano de Bergerac” in Houston, directed by
G. Boyd; the “Tales of Hoffman” opera in Wilmington, directed by J. Bookspan; Six
Degrees of Separation” in Seattle, directed by D. Saint; and “Doll House” directed by
M. Bookker at the Giva in Rochester, New York and ASOLO in Sarasota, Florida;
Shakespear’s “The Tempest” at Center Stage with Stan Wojewodski Jr; and “The
Idiot” at Dallas Theater’s Center and Trinity Repertory Company with director Jonas
Jurasas, for which he received the Dallas Critics Award amongst others.
Alexander Okun was also art director for The Patrick McBride Company and a
consultant for Walt Disney Imagineering. Some of his artwork & renderings are
currently in Theatrical Museums and private collections.
The Bremen Town Musicians
A fairy tale by Brothers Grimm I Directed by Y. Gubenko I Yermolova Theater, Moscow 1972
Last Summer in Chulimsk The scale model photo at left, and the
Costume sketch above.
By A. Vampilov I Directed by V. Andreev,
Yermolova Theater, Moscow 1974
Last Summer in Chulimsk
Scenic design for the Exhibition on the 90th anniversary I By A. Vampilov I Directed by
V. Andreev, Yermolova Theater, Moscow 1974
Front elevation “Bar” Scene one
The Tales of Hoffman
Opera by Jacques Offenbach I Directed by Janet Bookspan I Opera Theater Co., Wilmington,
DE 1992
The Tales of Hoffman
Scene Two
The Tales of Hoffman
“Coppelius” Scene three I Opera by Jacques Offenbach I Opera Theater Co., Wilmington,
DE 1992
The Tales of Hoffman
Final scene, Venice I Opera by Jacques Offenbach I Opera Theater Co., Wilmington, DE 1992
The Idiot, Top: Front elevation. Bottom: Photo from production
The Idiot
By Feodor Dostoyevsky
Adaptation of the novel
Conceptual drawing
Directed by Jonas Jurasas I Dallas Theater Center, TX, 1987
100 Years Later In A Birch Grove
By V. Korostylev I Directed by S. Desnitsky I Moscow Art Theater, 1967 Project
100 Years Later In A Birch Grove, Design concept
End of Book VI: Costume sketches I Photo from production
End of Book VI
By Ezhi Broshkevich I Directed by E. Radomyslensky & A. Goncharov I Maykovsky Theater,
Moscow 1968
Turandot Costume Sketches
Turandot by Puccini
Directed by E. Platon I London Opera Co., at The Royal Albert Hall, 2001
Roza Musical by Gilbert Becaud
Directed by Harold Prince I Broadway production at The Royal Theater, NYC I The Mark Taper
Forum, LA, CA I Center Stage, Baltimore, MD 1986 - 1987 I Presentation rendering 36” x 48”
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Roza, Conceptual rendering by Alexander Okun
Once he has agreed to direct Roza, Prince begins to collaborate on the set design. “I get
rhythm out of the way a show looks, and my failures have usually been when I haven’t
known what a show should look like,” he says. Five months before the first day of rehearsals,
Prince calls a meeting to introduce his designer, Alexander Okun, and Okun’s model of the
set to key members of his Roza production team, lighting designer Ken Billington,
choreographer Pat Birch, and Georgia Brown, his star. “I ask for the impossible,” Prince
says, “and I got it.” On a sharp slant Okun has constructed the set of the apartment house
where Roza lives; in addition to Roza’s apartment the set contains parts of the apartments of
four of her neighbors connected by a serpentine stairway that winds and curves, rises and
falls, from one side of the model to the other. “It looks like a print by Escher, doesn’t it?”
Prince crows. “That comes from the illusion that’s created of the stairs going down as they
go up. Most of the action, in Roza’s room, is to be played three flights up, and yet that room
is lower than the other apartments which are actually on lower floors.” Okun’s dazzling set is
a visual trick that typifies Prince’s love of illusion, making the audience see something that
actually isn’t there.
HAROLD PRINCE CAMBRIDGE UNIVERSITY PRESS
AND THE AMERICAN MUSICAL THEATRE
CAMBRIDGE I NEW YORK I NEW ROCHELLE
FOSTER BIRCH MELBOURNE I SYDNEY
Roza cast, photo by Martne Swope
Roza, opening night poster
Carnival
By M. Stewart I Directed by Mourin Show I The Egg Theater, Albany, NY 1987
Carnival
By M. Stewart I Directed by Mourin Show I The Egg Theater, Albany, NY 1987
Carnival
By M. Stewart I Directed by Mourin Show I The Egg Theater, Albany, NY 1987
The Lady-Fool
By Lope de Vega I Directed by E. Radomyslensky I The Moscow Theater for Film Actors,
1970, 2009
Above: Scale model
Left: Costume sketches
Above: Photo from production
The Chekhov’s Pages
By Anton Chekhov I Directed by E. Radomyslensky, Moscow Art Theater, Moscow 1976
Aladdin costume sketches
Aladdin Musical
By D. Buck I Directed by Peter Webb I The Egg Theater, Albany, NY, 1986 I Theater Festival
in Jerash, Jordan, 1986
Aladdin costume sketches
The Dawns Here Are Quite
By Boris Vasilyev I Directed by E. Radomyslensky, Havana, Cuba, 1975
Three Fat Men; Youth Ballet Group I Choreography by Igor Moiseev
Cyrano de Bergerac
By Edmond Rostand I Directed by Gregory Boyd, Alley Theater, Houston, TX 1993
Prolog: Back stage
Cyrano de Bergerac
Sets for the royal stage
Cyrano de Bergerac, top: Front elevation theater I Bottom: “Aras” front elevation
Cyrano Scene two, tower Scene, tavern
Scene three, Aras Scene four, Roxane’s bedroom
Cyrano
Directed by S. Desnitsky I Moscow Art Theater (project) 1972
Shelmenko - Orderly
By Kvitk Osnovynenko I Directed by B. Filippov, Perm State Theater 1977
Richard III
By W. Shakespeare I Directed by Barbara Gains I Shakespeare Repertory Theater,
Chicago, IL. 1996
Conceptual drawings
Richard III
Ceiling netting
Richard III Chicago, IL., Final scene
Front elevation I Directed by Jonas Jurasas, Mass., Berkshire Festival, 1998
Transit of Venus
By Maureen Hunter I Directed by Jonas Jurasas
Richard III
Scene: Temptation I By W. Shakespeare I Directed by Jona Jurasas, Vilnius, Lithuania, 1999
Richard III Mathers revolt
Infantilism Execution Crash - Finale
N. Gogol I Costume sketch, general