Plenty

In his Broadway productions, David Leveaux has often used a strong directorial concept such as his Chekhovian 'Fiddler on the Roof" and his interracial "Romeo and Juliet" which did not work for all theatergoers. Here he seems to have decided that Susan finds life in Britain gray on her return and all of the sets by Mike Britton other than the final one (ironically suggesting the hope of the post-war generation) are made up of gray walls. As a result, none of them have any atmosphere aside from all resembling each other. It is left to the costumes by Jess Goldstein to give clues to the year of each scene which they sometimes do, and sometimes not. [more]