The PlayBill post did a note about a similar topic: “How Projection Design Is Changing the Landscape of Theatre”: “It’s about harnessing the technology in a way that feels like an organic extension of the emotional tone happening on the stage,” says Peter Nigrini, projection designer for Dear Evan Hansen and Amélie. The Dear Evan Hansen script noted projections, but the form and content came from Nigrini’s interpretation of the words.

Rhyne approaches his work similarly. “You start with the piece itself,” he says. “What’s the intent, what’s the goal for projections? What are we trying to get the audience to feel and think?” For this show, Rhyne visited Paris for inspiration. “I wanted to shoot specific architecture,” he says, “to provide lush environments that would help the audience follow the show’s journey.”