Georgi Alexi, the Hop's set designer since the mid-'90s, has made a career of depicting other people's stories, but he has a fascinating real-life story of his own.
Alexi has created over 200 sets during the span of his 30-year career, designing for such esteemed companies as the Kirov and Bolshoi Ballets as well as the Washington Shakespeare Theatre.
Designs in Alexi's repertoire include those of "The Sleeping Beauty," "Hamlet," "King Lear," and most recently, "The Tempest," which was performed recently at the College.
The greatest challenge for the set designer, according to Alexi, is promoting cooperation among the large number of people with whom the designer must work. Alexi recalls many instances in which the artistic directors of dance companies did not initially agree with his vision.
"In ballet the problem is that they always want a beautiful set, but sometimes you need an ugly one," he explained. "My job is not to present a beautiful stage but to show my understanding of the play or music."
Indeed, in addition to hours of work in the design studio, Alexi said that he spends a great deal of time defending his artistic interpretations.
"When you convince them, it's kind of a victory for you," he said.
Alexi was trained to design sets at the Academy of Fine Arts in Georgia of the former Soviet Union. Admission was competitive; Alexi estimated a five percent acceptance rate for the year he matriculated. He still looks fondly on his time at the Academy.
"I had great teachers," he recalled.
Beginning to work professionally while still in school, Alexi's design career flourished in Europe until the breakup of the Soviet Union interrupted his enterprise in 1991. He and his wife decided to move temporarily to the United States until conditions in his homeland improved.
"The decision to leave was not hard but it was hard to start over here," he said.
Although he had toured both Chicago and New York with European productions before relocating, Alexi found the States very different from any place in which he had previously resided.
"It's one thing to visit and another thing to live here," he explained.
It was also difficult for him to leave his two adult daughters behind in Georgia.
"Now I have family all around the world," he said.
In addition, he faced artistic barriers. According to Alexi, the American approach to set design is radically different from that of Europe, and at first he found it difficult to "jump from one world to the other."
"The level of technicality is higher here, but the creativity is higher in Europe," he commented.
Alexi soon grew to appreciate both approaches, however, and has been designing sets and teaching at the College for over four years.
"I like the students very much," he said. "I still have connections with former students." Some have even gone on to careers in set design, including one who is currently studying at Julliard.
While Alexi strives to simulate a professional atmosphere in his classes, he also encourages his students to enjoy their work.
"If it's not fun for you, it's not fun for the audience -- you have to excite them," he said.
He also advises them to take pride in their work.
"With time you see your mistakes, but I am always most proud of my last one," he said of his sets.
Far from complacent, however, Alexi is still looking to challenge himself. Although he said he would like to design for modern American dramas and musicals at some point, he retains a passion for the classics.
"I'd like to do more Shakespeare plays -- they are the easiest and the most difficult," he said, explaining his paradoxical stance by citing the freedom that this playwright allows for in his set descriptions. "He is profound and mysterious."
Alexi said that his most challenging pieces have been at two extremes -- either poorly written dramas or those of highly celebrated playwrights.
"Big names are a big challenge, but they inspire you. You need to rise to their level," he said.
Alexi's advice for aspiring young set designers focuses on diligence and compromise.
"Most people think of the curtain call and the applause but there is a lot of work behind the scenes," he pointed out.
According to Alexi, success depends on social as well as artistic skill.
"You must be very patient, and you have to know how to listen to people," he said. "I don't know if you can work in this field without knowledge of art, history, costumes and architecture."
Pure knowledge is inconsequential, however. Alexi feels that creative innovation is key to great art.
"All the time you have to come up with something different," he said. "It's like a game you play with yourself."
