Kulick: Yeah. During the Marathon there was Shakespeare-Shakespeare, and pre-Marathon, it would be sort of shook up--they could do Pirates of Penzance or The Mystery of Edwin Drood. So post-Marathon, it was good to sort of break it up. But it's nice to do two Shakespeares. And I saw a little bit of Barry Edelstein's set [designed by Narelle Sisson] for the Julius Caesar, and it's breathtaking, so I think that it'll be really exciting.

TM: You're working with a strong ensemble cast with a lot of Public Theater regulars, which worked so well for Cymbeline last summer.

Kulick: With this play, it's interesting, you get the idea that he's worked all this time with his company of actors, and that he wants to give gifts at the end of his life. And so each role feels like a very specific gift to an ensemble actor.

TM: So what do you think of the trees?

Kulick: [He looks to the stage.] I think the trees. . . need to be more gold. And I think they may be a little more geometric than need be. This is moving into Bohemia, so they may need a little more. . .

TM: Softening?

Kulick: Softening. Yeah, it's a little hard--geometric.

TM: And how else do you create difference in the look between the very different Sicilia and Bohemia?

Kulick: Well, the stage splits apart and it makes a lake.

TM: Oh.

Kulick: So we get a little water, and we get these trees. But, again, when Hermione dies, we wanted to do something to the world that felt irreparable, and the best thing you can do is just sort of tear the set apart. Which is what we do--just make it feel like it's been pulled apart. And also, we wanted to be able to have water, something natural in relation to this formal set.

TM: Is that going to be the biggest tech challenge?

Kulick: The biggest tech challenge is finishing the show with this rainy weather. [He laughs.] That's going to be foremost. But there's the whole pulling apart of the world--that's the trickiest thing, I think, so that'll probably keep us late nights.