The design pulled from Greco-Roman pottery, classical columns, and decorative motifs, then pushed them into a more heightened theatrical language. I wanted the set to feel rooted in ancient Rome without becoming museum-like. The world needed enough specificity for the story to land and enough exaggeration for the comedy to keep accelerating.

Because the musical depends on timing, entrances, and immediate recognition, clarity became the main design tool. The scenic design created a bright, playable Roman street where status, desire, confusion, and comic momentum could all be read quickly from the audience.