From Leigh Silverman, director of The Road to Mecca
When thinking about how to bring The Road to Mecca to the stage the first thing to consider was the set. The set is like another character. I wanted to honor the real Owl House (which you can see on the internet) and at the same time translate it to the stage in an exciting way. Our set – the main rooms of Helen’s house - is a literal and metaphorical representation of her soul – the soul of a radical, brave, inspired totally wild artist – willing to live on the outskirts of societal norms and sacrifice everything for her vision.
An example of her unconventional ways: Helen would grind glass in a coffee grinder (by hand!) and then put it on her walls. She was all about color, enormous mosaics and a compulsive use of color, light and candles. The first time Rachel, the set designer, showed me a sample of the glitter walls that we were going to use I was delighted, and I am so happy to work on a play that celebrates creativity, color, life and artistic freedom.