By Lea Freeman, Asst. Culture Editor -

The Threepenny Opera, by Bertolt Brecht, will debut in Robsham Theater at the end of April. Directed by Boston College Theater Professor Stuart Hecht and with set design by fellow Professor Crystal Tiala, The Threepenny Opera examines the darker side of civilization. Set in a world where corruption is the norm, the musical’s lead character is a master-criminal and an antihero.

Hecht’s rendition sets itself apart from other earlier interpretations with a major change in setting. I Instead of occuring in 19th century England as originally written, this version takes place in a post-modern, abstract world. The entire set is designed to retain the mood and spirit of the original production minus the period and realism.

A major inspiration for the set was the Jewish Museum Berlin in Germany, designed by architect Daniel Libeskind and notable for its unique use of angles. Many of its walls and doorways do not intersect at right angles. The unexpected lines created by this design help to imply an unconventional and unfriendly world that doesn’t follow standard norms of right and wrong. Tiala attempts to create a strong sense of dehumanization with the set. By setting the play in a disconnected jumble of lines, shapes, and angles she hopes to create a world where humanity appears completely broken apart.

Set Designer Tiala attempts to create this world visually with a number of tricks, including the use of a projector. Employing a projector is a relatively new addition to theatre, but BC recently hired a projection designer, which allowed for the use of this dramatic device. The Threepenny Opera specifically uses the projector to add commentary, almost like a news report. Because the rest of the set is so abstract, the projector is very useful in announc¬ing changes in scenes and locations. The projector serves a dual pur¬pose; it both adds to the progression of the show and helps the audience see the world differently.

The Threepenny Opera is a slightly larger production than BC is used to. There are 27 cast members, about 50 workers in various shops, 10 members of the running crew and eight designers. Collaboration is an important aspect of theater, and there are certainly a lot of people involved and various visions to put together. Just deciding to change the setting from the 1830s was a huge step. Tiala first had to fully understand the director’s focus and then add her own visual aesthetic. Everyone is trying to take blank space and create their own world. Hecht provided Tiala with words and phrases such as “discom¬fort,” “disoriented,” “confusing,” “ugly city,” “uncomfortable,” and “unsafe” to help her understand the intended mood of the production.

“Once I know I’m right,” Tiala says, “the rest of the show comes together.” There are so many aspects of a play that have to come together to create a great production. The set designer has to work with light designers, costume designers, and sound designers to make sure to create the same world. The creative development of The Threepenny Opera started as far back as October.

“It’s important to have a visual direction and to know what the set is going to look like so the actors can know how to move through space,” Tiala says.

Tiala said she feels lucky to get to work with set design. “It’s the best job in the world. I get to design. I get to teach design. What could be better?”

Tiala has been working at BC for 11 years and has worked on approximately 35 different productions.

“They’re all my favorites,” she says. “Each production is completely unique and takes on a life of its own.”

The Threepenny Opera opens at the end of April on the main stage of Robsham.