| 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.
| PRESS |
