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Designer Evan Adamson bats 1.000 with this fascinating stage concept...
- Citizen Times, Jim Cavener LINK to full article 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. - Two on the Aisle, Karen Isaacs LINK to full article 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. - CT Theater News, Geary Danihy LINK to full article Evan Adamson's design for a grungy, dirty trailer (one can imagine its scent) is superb. - Talkin' Broadway, Fred Sokol LINK to full article 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. - Connecticut Critics Circle, Rosalind Friendman LINK to full article Evan Adamson’s scenic design is meticulous in the amount of detail and specificity he has provided for Ulysses’ much-lived-in home. - Connecticut Critics Circle, Tom Holehan LINK to full article 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. - In the Spotlight, Shera Cohen LINK to full article 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. - The Examiner, Andrew Beck LINK to full article 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 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 Evan Adamson’s detailed set is flawless, and provides a link to time and place integral to the story. - In the Spotlight, Jarice Hanson LINK to full article 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. - Broadway World, Lauren Yarger LINK to full article Evan Adamson’s fine set is a re-creation of that seedy motel room in which King spent his last night on earth. - The New York Times, Anita Gates LINK to full article 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. -The Examiner, Andrew Beck LINK to full article ...rendered in haunting detail by Evan Adamson... - The Hartford Courant, Frank Rizzo LINK to full article 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. - Talkin Broadway, Fred Sokol LINK to full article 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. - The New York Times, Anita Gates LINK to full article ... splendidly designed by Evan Adamson with a telling attention to detail is the study in Freud’s home in the outskirts of London. - Berkshire Eagle Staff, Jeffrey Borak LINK to full article Maxwell Williams tightly directs the intellectually satisfying debate that plays out in Freud’s well-appointed study designed by Evan Adamson. - Broadway World, Lauren Yarger LINK to full article 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). - Connecticut Critics Circle, Geary Danihy LINK to full article 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. - By Bonnie Goldberg, The Middletown Press LINK to full article 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. - The Examiner, Andrew Beck LINK to full article 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... -CVNC, Laura McDowell LINK to full article 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. -CVNC, Laura McDowell LINK to full article The setting, designed by Evan Adamson was both attractive and functional, perfectly capturing the city feel. -Naples News, Marco Eagle LINK to full article A special tip of the hat to New York City set designer Evan Adamson, who makes it rain for the show's signature number. Lancaster Online, Marty Crisp LINK to full article Settings are very tasteful and pretty, and costumes are impeccable. Opera Lively, Luiz Gazzola LINK to full article A lion's share of credit must also go to the spectacularly, inventive sets by Evan F. Adamson Center Stage, Marsha Wagner LINK to full article The creative set design goes hand-in-hand with the eye-catching, colorful costumes. Sun Sentinel, Anca-Roberta Vlasan LINK to full article Evan Adamson's set design is terrific... Lancaster Online, Jane Holahan LINK to full article Evan Adamson's set design had a very industrial rundown feel that worked perfectly for the play. Naples News, Jamie Carmichael LINK to full article |
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