01
CAT ON A HOT TIN ROOF
Breaking away from the
traditional southern mansion audiences have come
to expect, Cat on a Hot Tin
Roof is set solely in Brick and
Maggie’s bedroom. Relying
on a half-moon arena made
of sheer curtains (behind
which other characters lurk),
Acebo hints at themes of
secrets and lies.
What drew you to work in theatre and to the design
aspects in particular? Is it true that you fell in love with
the idea of sets at a production of Annie?
Yes. I think it was 1979. My parents took me to the
now nonexistent Shubert Theatre in Los Angeles to see
Annie. We sat in the back row, and from the moment
it started I was completely pulled into the experience.
When I got home, I went to my room and drew the sets
as I remembered them. It just took me another 15 years
to come back to realizing that’s what I should be doing.
When I really think about this question, I’d have to say
it was about finding my tribe. I didn’t come to this work
until my mid-20s. I was searching for direction and
completely unsure of my career path. I was always a
doodler, but I never took any art classes until I went to
a college — Cal Poly, San Luis Obispo — that had a theatre minor. In that small program, we all did a little of
everything. Turns out I was a terrible actor, but I loved
design and realized I wanted to study that.
02
You’ve