Boston Conservatory, Boston
by Conrad Susa
directed by Nathan Troup, Music director Andrew Altenbach
lights Carl Wiemann , costumes Lara de Bruijn
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By: Brian Schutt
November 16, 2012 -The Boston Musical Intelligencer
... The set by Julia Noulin-Mérat and lighting by Carl Weimann were simple but ingenious. Most of the opera took place in a wood, the stage covered with leaves, with only a picnic table and some institutional chairs as props. Sonotubes plastered with newspaper gave the impression of birches, buthe were themselves transformed to make Rapunzel’s castle, or to make the diminutive scale of Rumplestiltskin concrete. At the end of the acts there was an indication that the play was taking place in a menta institutio (a common setting for production of Transformations), but this was  perfunctory.  ...

Conrad Susa's Transformations
By: David Bonetti
November 18, 2012 - Berkshire Fine Arts
...Set designer Julia Noulin-Merat turned the hospital day room into a forest by surrounding its central space with “trees” made of tall cylindrical forms covered with newspapers. (The forms were moveable and were easily 
transformed into scenic requirements such as Rapunzel’s tower.) ...

Conrad Susa's 'Transformations' is a 
success at the Boston Conservatory
By: Melanie O'Neill
November 16, 2012 - The Examiner
...This continuity was uninterrupted by set changes, as the production was very resourceful in its manipulation of sets and props. The same tangled yellow caution tape that bound and caged the Wild Man in "Iron Hans" represented Rapunzel's long luscious locks. Similarly, the newspapered 
trees served as both Rumpelstiltskin's hovel and, later, Rapunzel's tower...