The set designer made some wonderful tents to take us to Imperial Russia. Scenic Design by Aaron Cromie is the likes of aristocratic Russia, fine cloths, pictures,  antiques, instruments and Turkish rugs that cover the floor. It is a shifting landscape that repetitively takes to the imaginative journey by reading and dreaming to seek refuge from major changes in Russia. Major changes were happening in this time period such as, the abolition of serfdom, new conversations about women's rights, reforms within the judicial system and local governments, and the waning power of the old aristocracy.

Vronsky moves about the stage in pursuit of Anna, the whole cast follows him at times representing a change of place or a type of transportation. The motion of the train in which Anna travels to move away from her own unsettling world is a choreograph that mimics the loco motion.( Left to right: Amanda Schoonover and Shamus and Hunter McCarty, "no he doesn't love", Arlen Hancock and Shamus Hunter McCarty objectify women below, and Andrew Carroll and Maria Konstantinidis on the right, below Andrew Carroll touches himself to the thought of Anna)

The adaptation by Brenna Geffers is based on the novel, Anna Karenina by Leo Tolstoy. Realist fiction is a comment on the class structure and politics of the time. Brenner Geffers talks alittle bit about hte developement of the script. Time is a large part what makes this novel interesting to perform. From what I know from only readign the introduction of Anna Karenina he set out to write the longest novel he has ever written. I was working on the adultery theme of Madame Bovary, and read bits and pieces. Tolstoy seems to set the scene with many characters to create these relationships that fall apart. Though, Iwe did read The Death of Ivan Ilych by Leo Tolstoy and it is almost the direct opposite, a small novel taht is very much about lonesome, dark, and empty rooms.

The sexual appeal of Anna Karenina is the role of power that Maria Konstantinidis has over men. I believe the costumes by Natalia de la Torre depict a black revolutionary (Carlo Campbell), Vietnam protestor (Lee Minora), beatnik poet (Carlo Campbell), it may be a bit of a stretch but even Shamus Hunter McCarty could portray a contreversal Truman Copote, and Andrew Carroll could even be compared to the sex icon, Prince. In my opinion Brenna Geffer's ANNA is a patch work of Tolstoy's imagery with an ensemble of actors who appropriately personify infidelity on a timeline through history.