a christmas carol
2019 BIG EASY AWARD,
Best Set Design |
Directed by Maxwell Williams at Le Petit Theatre, “A Christmas Carol” (through Dec. 23) boasts an impressive spectacle driven by first-rate production values and boisterous performances.
The set design by Evan F. Adamson establishes the tone of the show before the first curtain, evoking a Gothic gloom with dark-stained wooden structures, intricate scrollwork and various moving parts that add layers of depth and height to the stage. LINK to full article - The New Orleans Advocate, Brad Rhines 12.11.2018 The physical production is among the most impressive seen on any local stage. Upon entering the theater, the audience is pulled into the past through Evan Adamson's broodingly dark set designs, which establish the mood throughout the night, along with Andrew Griffin's evocative lighting and Nicholas Hussong's vivid projections. The visual special effects fill the show with surprises that will both stir, shock and delight. LINK to full article - The Times Picayune, Theodore P. Mahne 12.10.2018 |
mamma mia!
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Evan Adamson’s set worked amazingly well to handle the myriad scenes this show requires, and with the music by Abba and additional songs by Abba songster Stig Anerson, what a way to reopen the theater.
LINK to full article - Venice Gongolier , Kim Cool 10.09.2020 The whole thing takes place on a breathtaking set, designed by Evan Adamson: Mediterranean-style architecture, plants, flickering candles in alcoves and a tavern balcony overlooking a stunning backdrop with sailboats and an Aegean Sea that glitters and shimmers under the stage lights. The moment I saw that set, I thought “Ahhhh…” Honestly, it made me want to pack my bags and head to Greece right away. LINK to full article - USA Today The News-Press, Charles Runnells 03.01.2018 The set of MAMMA MIA! was beautiful and incredibly creative; I have to commend the set designer, Evan Adamson, on how brilliant it is... It brought the Greek island MAMMA MIA! is set on to life. LINK to full article - Broadway World, Emily Yorgey 02. 17.2018 |
rigoletto
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Designer Evan Adamson bats 1.000 with this fascinating stage concept...
LINK to full article - Citizen Times, Jim Cavener 06.29.15 |
annapurna
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Director Rob Ruggiero has done an excellent job with the cast and the production team. Set designer Evan Adamson has created a perfect set -- a small trailer that looks both worn out and messy. It, like Ulysses, is decaying in front of us.
LINK to full article - Two on the Aisle, Karen Isaacs 10.22.2014 Another “character,” albeit not living or breathing, is the set design by Evan Adamson. Every bit of “decor,” from the minutia of the location of a filthy burnt pan to the large unmade bed strewn with smelly blankets (well, they looked smelly) is exact. LINK to full article - In the Spotlight, Shera Cohen 10.20.2014 So, too, are the constant references to Ulysses’ slovenliness, a mode of existence that is evident even before the start of the play, for all the audience has to do is take in Evan Adamson’s impressively detailed set design of the interior of the trailer to understand that here lives a slob. LINK to full article - CT Theater News, Geary Danihy 10.11.2014 Evan Adamson's design for a grungy, dirty trailer (one can imagine its scent) is superb. LINK to full article - Talkin' Broadway, Fred Sokol 10.2014 Technically, the production is well detailed. Evan Adamson's set design is breathtaking with a view of bright shining snow-covered mountains outside of the awful trailer. LINK to full article - Connecticut Critics Circle, Rosalind Friendman 10.2014 Evan Adamson’s scenic design is meticulous in the amount of detail and specificity he has provided for Ulysses’ much-lived-in home. LINK to full article - Connecticut Critics Circle, Tom Holehan 10.2014 Another key element of the play is Evan Adamson’s set, a realistically detailed interior of a messy, unkempt trailer with piles of clothes strewn across the floor and under the unmade bed, with dirty dishes and mugs piling up along the messy counters and swollen boxes hide unhappily squeezed beneath the bed. Even with a panorama of the Rockies visible outside the door and windows of the trailer, Adamson has done a great job of recreating the claustrophobic atmosphere of the dwelling where Uly has exiled himself. LINK to full article - The Examiner, Andrew Beck 10.2014 |
freud's last session
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Now, this is what a psychiatrist’s office should look like. The wall of books; the African art; the Greek, Roman and Egyptian artifacts on the desk; the Oriental rugs; and the imposing, tapestry-draped couch. This is the sunlit London study of Dr. Sigmund Freud in TheaterWorks Hartford’s decidedly satisfying new production of “Freud’s Last
Session,” and what better place to debate the existence of God?..... Evan Adamson created the handsome set, and one of its most appealing elements is the windows, framed by hints of greenery outside, with pinched drapery panels letting in an alluring soft light. LINK to full article - The New York Times, Anita Gates 01.30.2014 As Germany invades Poland, Freud (Kenneth Tigar) sits in his office in London, admirably crafted in delicious detail by set designer Evan Adamson, awaiting the arrival of Lewis (Jonathan Crombie). LINK to full article - Connecticut Critics Circle, Geary Danihy 02.23.2014 ... splendidly designed by Evan Adamson with a telling attention to detail is the study in Freud’s home in the outskirts of London. LINK to full article - Berkshire Eagle Staff, Jeffrey Borak 02.20.2014 The men meet, at Freud’s invitation, in his beautifully appointed study, designed by Evan Adamson, as hundreds of mythological god totems sit everywhere, welcoming revelations. LINK to full article - By Bonnie Goldberg, The Middletown Press 01.29.2014 Kenneth Tigar, as he sits in his London office, marvelously designed to meticulous detail by Evan Adamson, who captured the essence of the Lorraine Motel so stunningly in last year’s Theaterworks production of “The Mountaintop.” Adamson has filled the room with antique furniture, cloths and draperies, including an upholstered settee, along with sagging bookshelves containing Freud’s voluminous library and Freud’s large desk with its collection of figurines representing gods and myths from the world’s cultures. LINK to full article - The Examiner, Andrew Beck 01.2014 |
the mountaintop
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Evan Adamson’s detailed set is flawless, and provides a link to time and place integral to the story.
LINK to full article - In the Spotlight, Jarice Hanson 04.07.2013 Audiences are transported to the eve of the civil rights leader's assassination not only by the script, but through a meticulous recreation of room #306 at the Lorraine Motel by Set Designer Evan Adamson. LINK to full article - Broadway World, Lauren Yarger 04.08.2013 Set designer Evan Adamson [has] recreated in stunning detail an authentic version of the actual Room 306, which Adamson was able to visit in Memphis. LINK to full article -The Examiner, Andrew Beck 04.2013 ...rendered in haunting detail by Evan Adamson... LINK to full article - The Hartford Courant, Frank Rizzo 04.09.2013 Evan Adamson's depiction of room #306 is staggering as it replicates, in every way, the space. He was part of the design team which traveled to Memphis in preparation for the Broadway production of The Mountaintop a couple of years ago. As he fashioned the room for TheaterWorks, Adamson was intent on recreating each scuff mark and specific color tones of drapes and bedspread to correctly realize the past. LINK to full article - Talkin Broadway, Fred Sokol 04.2013 Evan Adamson’s fine set is a re-creation of that seedy motel room in which King spent his last night on earth. LINK to full article - The New York Times, Anita Gates 04.26.2013 |
the barber of seville
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The production staff has worked their magic to create an enchanting illusion of old Seville. Scenic designer Evan F. Adamson's sets were changed quickly and effortlessly without compromising the dramatic pace...
LINK to full article -CVNC, Laura McDowell 07.05.2012 |
la traviata
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The four memorable sets by scenic designer Evan F. Adamson were lavish and beautifully detailed, giving the stage the look of an established professional opera house.
LINK to full article -CVNC, Laura McDowell 07.07.2011 |
all shook up
interview >>
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A lion's share of credit must also go to the spectacularly, inventive sets by Evan F. Adamson
LINK to full article Center Stage, Marsha Wagner 03.13.2009 |
il viaggio a reims
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Settings are very tasteful and pretty, and costumes are impeccable.
LINK to full article Opera Lively, Luiz Gazzola 06.26.2013 |