Macfarlane, who began work on the show in early 2015, headed to the Roman locations to spend a week researching and drawing the opera’s locations. “So once you’ve committed to being site-specific, you have to obviously go to the sites.” ‘Tosca,’ in a strange way, is even longer, because it has to be site-specific,” says Macfarlane of Puccini’s iconic and divisive opera. His attention this month has instead been focused on “Tosca,” which has been a rotating door for creative talent in the past year - the menagerie of reasons range from vocal chord injury (Bryn Terfel) to sexual abuse allegations, as was the case for the show’s former musical director James Levine - but the visual grounding has remained constant throughout: Rome in the 1800s. “If you get into it, then I start on the wigs, and I start on details, and even watching it on the monitor I’m like, ‘What is that?’ I’m pointing to things,” he says.
Macfarlane had designed the costumes and sets for that opera as well, although he was trying to ignore its performances being broadcast on small backstage screens.
The Scottish native discusses his career from a folding chair in the theater’s intimate ground-level gallery space overlooking Lincoln Plaza, where a selection of his work is on display, as the muffled chatter of children exiting a seasonal production of “Hansel and Gretel” filters through the walls. They Are Wearing: Paris Fashion Week Spring 2023
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