These two massive marble pillars were a stroke of genius by designer Andy Miller. They utterly made you feel like you were in The Kremlin - for actors and audience. And what appears to be a back wall was, in fact, a semi-transparent scrim cloth vaguely suggesting a place into which dissidents might disappear - also suggested by the script - never to be seen again. It made that space lurk disturbingly for most of the play.
And of course a real grand piano on a revolve near the downstage edge. And Terry and Christopher played while it revolved. Great stuff.
