After learning that Dooley decided that his character's emotional problems arose from a traumatic experience in Vietnam, Chambers happened to encounter a painting that she said spoke to her of the character's "haunted stated of mind."
"The resemblance to Ray is uncanny, and the painting emotionally cemented his character for both of us," Chambers said. "The play, of course, takes place some 35-40 years after that moment, but his past and present state of mind definitely played a part in the design of the space - a small, confined, claustropobic world where something massive is slowly closing in."
|Josh Barrett and Ray Dooley in A Number by Caryl Churchill.|
(Photo by Andrea Akin.)
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