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Owen Wingrave Benjamin Britten opera design set scenic



“A massive, oppressive set loomed over the characters. The gloomy family manse and its immense portrait gallery were simply extraordinary (scenic design by Gabriel Firestone). By treating the set design as 'another character,' stage director Kenneth Shaw and his team of mostly student designers stunningly captured the atmospheric gloom while gradually illuminating the plot’s direction. It all led to the shocking finale, a coup-de-théâtre surrounding Wingrave’s demise that I won’t reveal here. Suffice it to say it was breathtaking.”


          - Janelle Gelfand, Cincinnati Enquirer



“The production was by all measures outstanding… With scenic design by CCM senior Gabriel Firestone, the production was well adapted to staging the work with its rapid, cinema-like scene changes.” - Distinction of Best of 2013 in Cincinnati


          - Mary Ellyn Hutton, Music In Cincinnati



“Director Shaw, maestro Müller-Stosch, in the pit, and designers Gabriel Firestone (scenery), Mark C. Williams (lighting), and Caroline Spitzer (costumes) have mounted a strong, streamlined, subtle, sober and somber production, lit by the bright performances of a youthful troupe.”


          - Rafael de Acha, Music for All Seasons

Owen Wingrave Benjamin Britten opera design set scenic

Reviews of TARZAN:


“From first look at the mysterious giant map of Africa draping the stage, theatregoers knew they were in for something completely different… TARZAN staging is in-your-face, technologically up-to-date and inventive, and sets the setting as strong as the reach-out-and-touch-your heart performances.


Director Jeremy Quinn has created the Congo of 1912 though the theatrical alchemy of lighting master Jamie Roderick and jungle designer Gabriel Firestone. They have packed the WPPAC proscenium, creating a place where you can imagine sailing ships, explorers’ safaris, tropical gardens and scientists’ expeditions.


WPPAC has never before created effects like these: the scenery, real jungle treetops with creeping leopards, tree houses and spectacular costumes… The actors appear galvanized by their amazing environment, giving it all they’ve got… TARZAN is Broadway quality.”


          - John F, Bailey, White Plains CitiziNet Reporter



"The stage set, a tangle of vines with a tree house up top, is a thing of childhood fantasies."


          - Brooke Lea Foster, Wee Westchester

Reviews of Taylor Mac's OKAY:


“Gabriel Firestone's appropriately minimal set design eliminates the bathroom stall walls, so we can see all three toilets and their various tenants at all times… the tinsel, fluorescent lights, and tennis court style seating (and plenty of standing room) set the tone of trepidation and excitement.

          - Breanna Foister, New York Theatre Review


You never see the dance floor, the afterparties, or any part of prom that takes place outside of the girls’ bathroom—but the set design, lighting, and sound make you feel like you’re there with the characters… Just like a 2003 blog, the girls’ room on prom night is a place where you go to let out your feelings and drop the façade you’ve been showing the world. It’s pretty gross and beautiful and fucked up, and unlike real-life prom night, it surpasses the hype."

          - Gaby dal Valle, Milk

"The intimate arrangement brings the audience inside a high school bathroom, where all the action swirls around one girl’s stall as she deals with the oncoming birth of her baby at prom. Originally conceived and performed by Mac as a solo piece, UglyRhino has created an expanded vision of the world with tight direction, impressive design, and a solid ensemble of performers.


The set itself — the bathroom of action within the immersive prom world — is simply but carefully designed. Three toilets, so arranged, stall walls removed, form the entire world. But the effect is powerful — we’re at once put inside the bathroom with our ensemble, and also given a panoptic peek into any scenelet we please.


Between the solid design, Sharron’s direction, and the ensemble’s nuanced endurance, you could never guess it was written to be staged any other way. "


          - Theatre Is Good

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