The Shape of Things is not a play that would use a traditional box set. The biggest challenge was trying to create and then draft a non-traditional set that could be used for ten distinct locations. This paper is an analysis of the play from the perspective of a scenic designer. It includes past production information, an in-depth look at how religion affects the story and a journal following the show from design to strike. The appendices included various images rejected and/or used for the projection screens, design plans used for construction and photos from the production
