Missouri State University’s Michelle Harvey traveled to Aspen, Colorado, in August to design the sets for “Le Nozze di Figaro” (“The Marriage of Figaro”) at the Aspen Music Festival and School.

Harvey is an assistant professor in the Department of Theatre and Dance.

“Le Nozze di Figaro,” a comic opera in four acts by Austrian composer Wolfgang Amadeus Mozart, was staged in Aspen’s 135-year-old Wheeler Opera House.

Harvey explained that she first learned about the Aspen opportunity after production manager Matt Grevan asked her to submit her portfolio. This was then shared with the festival’s artistic director and production director, and Harvey was selected for the position.

Harvey previously worked with Grevan at the Dallas Children’s Theater, and he was her former student at the University of Texas at Arlington.

Project required multiple settings

The production team began collaborating in March 2024, with Harvey working alongside Grevan, director Sara Erde and other designers. Erde is a regular choreographer and director for the Met in New York City.

The team decided to set the opera in 1930s Spain during the Second Spanish Republic.

“The goal was to portray the opulent estate of Count Almaviva in the Andalusian countryside outside of Seville,” Harvey said. “The director’s concept involved a set that could disguise itself the same way the characters do, using transformations and rotations to create multiple settings.”

However, the limited stage space at the opera house caused design challenges.

“The stage had no fly loft and limited wing space, so moving set pieces was restricted,” Harvey said.

Problem solving during the design process

To address the space problem, Harvey designed rotating walls within L-shaped units to maximize versatility within the small space.

As costs increased, Harvey simplified the design further.

“I went back to the script and focused on essential details for each scene,” she said. “I retained the L-shaped walls but removed their rotating function, relying instead on repositioning the walls to create different settings. This solution allowed us to achieve at least five distinct looks with minor modifications.”

With Harvey’s input, the scene transitions were seamlessly choreographed. Actors and a small backstage crew shifted the walls in front of the audience, adding to the production’s dynamic appeal.

“Immeasurable” addition to the production

While “Le Nozze di Figaro” received a positive review in Opera Magazine, a globally distributed publication, Harvey’s work was singled out for praise.

“Michelle Harvey’s brightly lit sets, consisting of short walls shifted about by cast members, added immeasurably to the fast-moving production,” reviewer Marc Shulgold wrote.

Harvey said she was “thrilled” to be recognized for her work in “Le Nozze di Figaro.”

“It was a wonderful experience, and collaborating with director Sara Erde was incredible,” she said.

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