When we first sat down with Ron to discuss this piece, he told us he had the idea that this space was a large horizon, with two dots. The dots were people and he wanted a vast and empty space, that this whole world was empty. Scott created a large sloping area with a sleight horizon and a truck in the middle of the space to divide the two families and fencing that was layered to help create the illusion of fading into blackness.

My ideas revolved around the two worlds of Baylor and Jake. Baylor's world is cold, unchanging, set. Jake's world is warmer, kinetic and stark.

The show starts with the truck's hazard lights flashing and light comes up to see a bloody Jake on the phone with his brother, cues quickly pace forward through the show, slowing as we settle on Baylor's stable world. There we find Baylor on stage left, treating his beaten daughter as though nothing has changed. I was able to limit the amount of spill between both spaces to help isolate these two worlds.

As the end of the show approaches and the women begin to realize their own power, the fire that Jake's mother and sister, Sally, create, is seen by Baylor's wife, Meg, as the entire space is finally fully illuminated as blue light covers the stage with the horizon being accented by subtle backlight and Meg in a tight, warm special on her face as the two worlds finally come together at the end.