and PRINCES Maintaining and recreating the designs of Maria Björnson balances creative freedom and respectful preservation P BY CADE M. SIKORA roducing and reproducing a theatrical design long after a designer's passing is no easy feat. This is a challenge faced by the creative teams behind productions of Andrew Lloyd Webber's The Phantom of the Opera and Rachel Portman's The Little Prince. Both shows, designed by scenographer Maria Björnson, en- joy robust popularity with audiences across the world. Björnson passed away in 2002, leaving the artistic responsibilities for these two shows with many trusted assistants and colleagues. The Phantom of the Opera and The Little Prince are among Björnson's most recognizable and frequently reproduced designs, though her designs for the The Tales of Hoffmann, Don Giovanni, and Cunning Little Vixen have also been remounted since her death. For those involved, the challenge to maintain Björnson's work is both professional and personal. Many of those who work on her productions knew Björnson before her passing and have a devotion to her memory and legacy. They hold recreations of Björnson's work to the highest standards while employing an amount of creative freedom that Björnson judiciously encouraged of her assistants and fellow artists. SPRING 2019 | THEATRE DESIGN & TECHNOLOGY | 11