I have always been drawn to the old architecture of Tehran, especially how it blends with calligraphy and mosaic work throughout the city. In Iran, history has woven the old and new together—you can walk past a centuries-old building right next to a modern high-rise. Growing up, I noticed many historic buildings were turned into institutes, cafés, or restaurants. From the outside, they kept their character, but inside, the original textures and details were often painted over or replaced, as if their identity was being erased.
That contrast became the inspiration for my design for English. Each time I design or revisit this play, I discover a new layer. This time, I wanted to explore Iranian culture and architecture in a different way—one that feels like home for those who know it, and introduces its beauty to American audiences. Every color and pattern was chosen carefully in collaboration with my director, Everen and associate designer, Peyton.
The classroom is shaped like a Persian fountain, a place where people traditionally gathered to cool fruit, share food, and tell stories on summer nights. In the same way, this English class brings together people from different backgrounds, each with their own story. Calligraphy surrounds the space, reminding us that no matter how hard the characters try to speak and think in English, their identity and language are always with them. The classroom walls show old architecture painted over, with brick textures still visible—symbolizing how identity cannot truly be erased, no matter how much one tries to cover it.
