| RobertKlingelhoeferScenicDesign |
The Trial - Directed by Eve Adamson - Lights by Tony Mulanix - Costumes by Margaret McKowen - Phoenix Theatre Ensemble - 2007
The Phoenix debuts with a madcap rendering of Kafka
by Francine Russo January 4th, 2005
The production's inspired design team nails every mood and
genre. Set designer Robert Klingelhoefer's screens-on-wheels
scatter and merge to form everything from murky streets and
impenetrable walls to revolving doors for slapstick entrances. Tony
Mulanix's bleak lighting casts ominous shadows, made even
spookier by Ellen Mandel's discordant synthesizer chimes.
Margaret A. McKowen's beige-tone Edwardian costumes evoke the
elegance, lewdness, and misery of this multifaceted world
by Francine Russo January 4th, 2005
The production's inspired design team nails every mood and
genre. Set designer Robert Klingelhoefer's screens-on-wheels
scatter and merge to form everything from murky streets and
impenetrable walls to revolving doors for slapstick entrances. Tony
Mulanix's bleak lighting casts ominous shadows, made even
spookier by Ellen Mandel's discordant synthesizer chimes.
Margaret A. McKowen's beige-tone Edwardian costumes evoke the
elegance, lewdness, and misery of this multifaceted world
The Trial
by Martin Denton • December 21, 2004
In just four short months—Phoenix was initiated in August—they
have mounted a full-fledged revival of a difficult and complicated
play; no easy proposition even for the most experienced hands.
They have, in very large measure, succeeded impressively: know-
how goes a long way.
The physical production—Robert Klingelhoefer's stark, moveable
set composed of dark doorframes and uncomfortable-looking
prison cots; Margaret A. McKowen's varied and often fanciful
costumes; Tony Mulanix's moody, angular lighting; and Ellen
Mandel's arresting and sometimes unnerving score—is top-
notch. Adamson's staging is clear and focused and frequently
riveting.
by Martin Denton • December 21, 2004
In just four short months—Phoenix was initiated in August—they
have mounted a full-fledged revival of a difficult and complicated
play; no easy proposition even for the most experienced hands.
They have, in very large measure, succeeded impressively: know-
how goes a long way.
The physical production—Robert Klingelhoefer's stark, moveable
set composed of dark doorframes and uncomfortable-looking
prison cots; Margaret A. McKowen's varied and often fanciful
costumes; Tony Mulanix's moody, angular lighting; and Ellen
Mandel's arresting and sometimes unnerving score—is top-
notch. Adamson's staging is clear and focused and frequently
riveting.
