Atlantic Theatre Company
by Nancy Harris
GT Upchurch, dir.
David Weiner, Lights
Sarah Holden, Clothes
Stowe Nelson, Sound
Additional Photos by Kevin Thomas Garcia
Charles Isherwood, The New York Times
“In any case, it’s not easy to concentrate on the issues intermittently raised by the relationships in the play when your eyes keep straying to the rack of knives prominently on view in Timothy R. Mackabee’s sleek kitchen set. They are used for mundane chores like slicing bread, but the sense of simmering tension Ms. Harris so cannily stokes also keeps us uneasily aware that these handy household tools are also potentially deadly weapons.”
Zachary Stewart, theatremania.com
“The story takes place in the eat-in kitchen of a posh London home. Subtle light penetrates the sheer drapes hanging over the above-the-sink window and gleams off the stainless steel appliances (brilliantly naturalistic lighting by David Weiner). Little bottles of olive oil congregate in strategic colonies all over the room. A giant Rorschach-esque painting hangs on the exposed stone of the upstage wall. With this not-too-subtle touch, scenic designer Timothy R. Mackabee seems to be suggesting that our perceptions of this play will say a lot more about us than it will about the people depicted.”
David Finkle, Huffington Post
“The first thing she shows you is young Daniel (10-year-old Henry Kelemen) in the dead of night moving about a good-looking London kitchen Timothy R. Mackabee has designed.”
Jan Rosenberg, showbusinessweekly.com
“Timothy R. Mackabee’s painfully sharp scenic design of the family’s spotless open kitchen makes us feel as if we’re sitting at the other end of the kitchen table, watching the power play and manipulation play out amongst the three adults.”
Atlantic Theatre Company
by Nancy Harris
GT Upchurch, dir.
David Weiner, Lights
Sarah Holden, Clothes
Stowe Nelson, Sound
Additional Photos by Kevin Thomas Garcia
Charles Isherwood, The New York Times
“In any case, it’s not easy to concentrate on the issues intermittently raised by the relationships in the play when your eyes keep straying to the rack of knives prominently on view in Timothy R. Mackabee’s sleek kitchen set. They are used for mundane chores like slicing bread, but the sense of simmering tension Ms. Harris so cannily stokes also keeps us uneasily aware that these handy household tools are also potentially deadly weapons.”
Zachary Stewart, theatremania.com
“The story takes place in the eat-in kitchen of a posh London home. Subtle light penetrates the sheer drapes hanging over the above-the-sink window and gleams off the stainless steel appliances (brilliantly naturalistic lighting by David Weiner). Little bottles of olive oil congregate in strategic colonies all over the room. A giant Rorschach-esque painting hangs on the exposed stone of the upstage wall. With this not-too-subtle touch, scenic designer Timothy R. Mackabee seems to be suggesting that our perceptions of this play will say a lot more about us than it will about the people depicted.”
David Finkle, Huffington Post
“The first thing she shows you is young Daniel (10-year-old Henry Kelemen) in the dead of night moving about a good-looking London kitchen Timothy R. Mackabee has designed.”
Matthew Murray, talkinbroadway.com
“The first thing she shows you is young Daniel (10-year-old Henry Kelemen) in the dead of night moving about a good-looking London kitchen Timothy R. Mackabee has designed.”
Michael Dale, broadwayworld.com
“The first thing she shows you is young Daniel (10-year-old Henry Kelemen) in the dead of night moving about a good-looking London kitchen Timothy R. Mackabee has designed.”
Jan Rosenberg, showbusinessweekly.com
“Timothy R. Mackabee’s painfully sharp scenic design of the family’s spotless open kitchen makes us feel as if we’re sitting at the other end of the kitchen table, watching the power play and manipulation play out amongst the three adults.”