Behind the inventive production design of ‘The Amazing Adventures of Kavalier and Clay’

It’s not really possible to cleanly pin down the setting of the Pulitzer Prize-winning novel The Amazing Adventures of Kavalier and Clay. Written by Michael Chabon and published in 2000, the story takes place in Brooklyn, in Prague, on the battlefields of World War II, on the top of the Empire State Building, and in the imaginary universe of a superhero comic book.

The breadth of locations—physical and metaphysical—make for a rollicking read. But when New York’s Met Opera decided to stage an opera version of the book, that globe-crossing, reality-bending narrative presented some very tangible challenges.

“It’s a big sweeping novel, so it requires an enormous canvas and a lot of locations,” says Bartlett Sher, director of the opera version of the book, which has just opened the Met’s 2025–2026 season. “We started workshopping it a couple of years ago, and I realized I can’t do this in the normal way.”

To make those leaps in the real time span of a live opera performance, Sher and his team had to take a novel and highly complex approach to its production design. The Met tapped 59, a multidisciplinary stage and experience design studio, to design the sets, lighting, and, crucially, video elements that reveal a narrative that takes place on multiple continents and within the pages of comic books.

The story follows two Jewish cousins at the outset of World War II who create a comic book hero whose stories are intended to urge Americans to join the fight against the Nazis. Their comic becomes a hit, but their lives are thrown into chaos as the war unfolds, taking the audience from New York to Prague to the minds of comic book creators.

Part of the experiential design agency Journey, 59 developed a production design approach that embraced the story’s location hopping. “The worlds start to be really musically distinct and really visually distinct, and then everything starts to collide together throughout the course of the piece,” says Jenny Melville, principal design director at 59. “It was quite clear early on that particularly the comic book world was going to have a major visual component to the whole design.”

Melville has worked on operas and stage plays around the world, and 59 has developed video elements for productions like the Broadway version of the Netflix series Stranger Things and the Met Opera’s 2024 staging of Aida. Melville says that as more and more performances integrate video elements, production designers have to strike a careful balance. “Video design in opera is very much supportive material, an augmentation to the scenic design,” Melville says. “But it’s really critical to never overshadow the live performance on stage.”

For The Amazing Adventures of Kavalier and Clay opera, video took on an outsized role, especially for scenes involving the creation of the comic book and stories from within its pages. “There are these moments where, really unusually for an opera, the singers stop singing and the video moments take over,” Melville says.

That’s partially a function of the narrative, which revolves around the creation of a superhero comic. The impracticality of having the audience watch actors imagining superheroes and drawing comics on stage led to the integration of vivid animated sequences projected on the set.

The opera’s modernist score, by composer Mason Bates, also creates moments for the video elements to come into the foreground. The music juggles between the somberness of Europe in World War II, the jazziness of New York City in the 1930s, and a comic book world represented by electronic music. “Because there are these electronic music sections, it’s a really clear divide when we’re a supporting act, which is actually like 90% of the time,” Melville says.

The abundance of video elements in the opera presents its own set of technical challenges, especially when it comes to making sure the video synchs up with the musicians in the band pit and the singers on stage. “The timing changes every night, because of course the conductor and the orchestra and all the singers have to just do what feels right in the moment,” says Melville. “We’ve had to break all of our cue structures down into very, very specific time sequences.”

“We worked very cleverly and carefully to make it work,” says Sher. “And that was fun, but it wasn’t easy.”

The hard work on The Amazing Adventures of Kavalier and Clay opera may pay dividends later on. Sher and 59 are already working together on another production, a musical version of the film La La Land, that is going to rely on a similar level of video integration. “Everything we’ve absorbed on this experience is only going to help redouble our efforts when it comes to that experience,” he says.

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