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Dickinson has created a totally convincing and claustrophobic setting.
The Raid is a skull-splinteringly violent, uncompromisingly intense and simply brilliant martial arts action movie in a nightmarish and claustrophobic setting.
There was, arguably, a rigour and clarity to that claustrophobic setting.
The claustrophobic setting lends itself to Victorian drama, to East End sidestreets well apart from any gaze.
The chair is papered with images of generic library cabinets and Oriental rugs that might complete the claustrophobic setting.
Ingenious and slick though this staging was, a less claustrophobic setting might not compete so strenuously with the music.
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The streets and houses are real, a break from the claustrophobic sets Mexicans are used to seeing in their soap operas.
This has much to do with the lighting (Kevin Rigdon) and projections (Sage Marie Carter), which transform Robert Brill's excellent claustrophobic set into a melting sand castle.
Its big screen incarnation, from first-time director Benedict Andrews, is an attempt to expand upon this claustrophobic set-up and initially at least, it succeeds.
(Beowulf Boritt's claustrophobic set, moodily lighted by Sebastian Paczynski, with its diaphanous scrim through which the outside world beckons, echoes the theme).
Well directed by Muriel Romanes in this production by the Stellar Quines Theater Company of Edinburgh, the actors maneuver around a tiny, claustrophobic set that resembles a comic-book panel.
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