http://www.timothymackabeedesign.com/work daily 1.0 2020-06-04 https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/574f98a1ab48decaf96eaf50/1464834209044/ Projects - THE LAST FIVE YEARS American Conservatory Theatre by Jason Robert Brown Michael Berresse, dir. Robert Wierzel, lights Callie Floor, clothes Kai Harada, sound Additional Photos by Kevin Berne Sophia Laurenzi, The Stanford Arts Review "Tim Mackabee and Robert Wierzel, the respective scenic and lighting designers, represent a special kind of genius. Upon entering the theater, the most noticeable set piece is an enormous modern floral wreath that hangs from the stage ceiling at an upward tilt on its downstage side. Its monotone whiteness continually provides interesting and stark lighting reflections and shadows throughout the performance, and its circularity is somehow comforting—like it will somehow keep Cathy and Jamie’s love safe. But the true brilliance in the set design lies in the stage wide box that remains a constant presence. Four transparent walls bordered with black framing start off in a traditional box shape, but at different points the walls slide open, turn to other angles, and are tinted in vibrant colors or blacked into complete obscurity. A musical that operates in dynamic space and time needs a set that can support and emphasize such spatial and temporal nonlinearity, while mirroring the simplicity of a show that usually has one actor in a plainclothes costume onstage. This central set piece and its integration with the lighting, as well as automated smaller scenes (a dock, a kitchen table set with changing details like flowers, a worn armchair and bookshelf) that slide in from stage right and left, are what The Last Five Years needs for its surreal and real elements to mesh believably. Like the story and the music, it is multi-dimensional." Jay Bermann, sfist.com "The spare and soft-edged set by Tim Mackabee, composed primarily of geometric panels that are lit throughout with solid colors and sunset gradations, is crowned, literally, with a pretty, suspended doughnut of what look like dried white roses. The elaborate focal point above the stage plays a pivotal role in the finale, which Berresse admits he tweaked from the script in order to cast a more positive life on the dissolution of a relationship, and it adds a suggestion of the organic while also being a metaphor of its own." Kevin Beane, theatreeddy.blogspot.com "A Christmas tree rises suddenly from depths under the stage; a rowboat glides across an imaginary lake; a bench appears to represent a park; and pieces of bedrooms, living rooms, and cafes fly in and out with ease – All part of Tim Mackabee’s clever staging." https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/57a3e3156a4963d00212bd96/1470358293074/ Projects - GIGANTIC Vineyard Theatre by Randy Blair, Tim Drucker & Matthew Roi Berger Scott Schwartz, dir. Chase Brock, choreo. Jeff Croiter, Lights Gregory Gale, Clothes John Shivers & David Patridge, Sound Carol Rosegg, Sara Krulwich, Photos Andy Propst, americantheatreweb.com "Scott Schwartz has directed Gigantic so that it bounds along energetically and fluidly (Timothy R. Mackabee's flexible rustic scenic design helps enormously in this regards)..." David Barbour, Lighting & Sound America "Timothy R. Mackabee's scenery has its amusing touches, including and upstage forest drop, knotty-pine portals, a cafeteria dominated by a big Michelle Obama poster, and that collapsing drum kit." David Gordon, theatremania.com "Timothy R. Mackabee provides an interesting multilevel set, with believable costumes by Gregory Gale and appealing lighting by Jeff Croiter." Elyse Sommer, curtainup.com "Timothy R. Mackabee has done a good job creating a flexible set with a nice woodsy feel and some clever touches, like a blue cloth turned into a pool for one of the campers to jump into during color wars." https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/581170ef9de4bbd0ed04391c/1477538031727/ Projects - VIETGONE Manhattan Theatre Club by Qui Nguyen May Adrales, dir. Justin Townsend, lights Anthony Tran, costumes Shane Rettig, sound Additional Photos by Carol Rosegg Charles Isherwood, The New York Times "But the vibrancy of the performances, and the stylish production — the set by Tim Mackabee pops with color and life —generally keep the more obvious or repetitive passages from becoming draggy." Marilyn Stasio, Variety “We don’t belong here,” Quang says. “We belong there. There, we’re heroes. We’re sons. We’re men.” Meanwhile, the friends are stuck in set designer Tim Mackabee’s surreal vision of America, a land of looping ribbons of highways and abundant billboards with nothing behind their facades." Frank Scheck, The Hollywood Reporter "Tim Mackabee's set design, which includes a forced-perspective depiction of a desert highway dominated by billboard signs displaying Jared Mezzocchi's colorful projections, dazzles." https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/5811723f8419c208851ec6c4/1414699425262/ Projects - Luce Lincoln Center Theatre by J.C. Lee May Adrales, dir. Tyler Micoleau, lights Kaye Voyce, clothes Jill BC DuBoff, sound Additional Photos by Jeremy Daniels Zachary Stewart, theatremania.com “Their display case has been masterfully crafted by set designer Timothy R. Mackabee. The sterile but nicely finished cabinetry of a charter school classroom easily transforms into the same for a remodeled kitchen in Luce's family home as locations alternate. With help from lighting designer Tyler Micoleau, whiteboards dissolve to reveal a foyer and staircase for the home scenes. This is the natural habitat of the overwrought suburban parent.” Broadway.com “Featuring a sleek set by Tim Mackabee, Luce effortlessly transforms the Claire Tow Theatre into a high school classroom, a suburban living room, a Starbucks, and back again. Directed by May Adrales, the new drama by young playwright JC Lee is equal parts haunting and hilarious, featuring an ensemble cast of talented stage veterans and two bright new young stars, Okieriete Onaodowan as Luce and Olivia Oguma as his friend Stephanie. Luce explores the lengths parents go through to help their children succeed and the pressure those children feel to achieve perfection.” https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/58117283ebbd1ab354e673cf/1414549852128/ Projects - Paul's Case UrbanArias by Gregory Spears & Kathryn Walat Kevin Newbury, dir. Eric Southern, lights Amanda Seymour, clothes Roger Caitlin, The Washington Post “Baritone Keith Phares, as Paul’s father, has his own deep disapproval, leading Paul to steal money and skip town to fulfill his dreams. After one drunken night with a Yale student he meets (Michael Slattery), the reality comes crashing down on him — in the form of descending lights, a nifty touch by lighting designer Eric Southern in the spartan black box set design of Timothy Mackabee.” Heidi Waleson, The Wall Street Journal “Kevin Newbury's focused directing, Timothy R. Mackabee's set (a shiny black runway between two tiers of spectators, with the orchestra at one end and a bank of industrial lights above), and Amanda Seymour's period costumes evoked Paul's inner and outer lives.” Susan Galbraith, DC Theatre Scene “I cannot praise enough the imaginative and winning concert of design elements of this show, so economically yet lovingly wrought. Amanda Seymour’s monochromatic period costumes are beautifully designed with detail one can appreciate sitting so close to the action. Set designer Timothy R. Mackabee has created onstage a long hallway floor, painstakingly assembled in a pattern of oblong wood pieces, fitted together and polished to a gleaming ebony. With a few straight-backed wooden chairs and a chaise that are easily brought on and off, Mackabee transforms Artisphere’s black-box theatre from a chilly boarding school room to an elegant room in New York’s poshest hotel, and from a street in the city to a train trestle, a grave, and, perhaps, the mysterious black universe itself. At one end of this long corridor and opposite to the orchestra, up against the wall are mounted several lights against the wall to shine directly at eye level emulating the front end of a train. Overhead another bank of lights, those industrial pendants I mentioned, are mounted on a grid and hung oppressively low to suggest the steely lights of a hospital operating room or morgue. They are creatively designed by Eric Southern to dominate the action in the first scene then lift up, as if magically, and symbolically open up the space for Paul to escape into the airy spaciousness of New York. These lights return dramatically, pressing downwards slowly and claustrophobically, making Paul’s inescapable end.”   https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/5a0bdbec08522925f0423baa/1510726636378/ Projects - GUARDS AT THE TAJ Atlantic Theatre Company Steppenwolf Theatre Company by Rajiv Joseph Amy Morton, dir. David Weiner, lights Bobby Frederick Tilley, clothes Rob Milburn, sound 2016 Lucille Lortel Award, Outstanding Scenic Design Marilyn Stasio, Variety "Although we don’t actually look upon this wonder of the ancient world, the unveiling of the Taj Mahal becomes a magical onstage moment as revealed through David Weiner’s gorgeous lighting, which has been designed to capture all the shifting colors of the rosy-fingered dawn. The sheer beauty of it softens us up for the horrors of the next scene, rendered in shades of hellfire in Timothy R. Mackabee’s scenic design, in which Humayun and Babur wrestle with the contradictory demands of duty to one’s lord and loyalty to a friend." Elisabeth Vincentelli, New York Post "Huma and Babur clean up the bloody mess they left behind — the torture chamber by Timothy R. Mackabee is so realistic and disgusting that, at a recent performance, a couple of theatergoers fled."   https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/5a2323c9f9619ac01be92a02/1511069672837/ Projects - THE LAST MATCH Roundabout Theatre Company by Anna Ziegler GT Upchurch, dir. Bradley King, lights Montano Blanco, clothes Bray Poor, sound Ben Brantley, The New York Times "Tim Mackabee’s open-sky blue-and-green set may evoke the daunting public stage of center court, but the real setting is the crowded interior of the players’ minds." David Barbour, Lighting & Sound America "Upchurch's production is unusually inventive, beginning with Tim Mackabee's set, which places the actors against a sky cyc over which hangs a forced-perspective array of stadium lights. (Scoreboards, on the right and left walls of the theatre, complete the effect.)" https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/5a29bc2dc83025873169afca/1512684589249/ Projects - DESCRIBE THE NIGHT Atlantic Theatre Company by Rajiv Joseph Giovanna Sardelli, dir. Lap Chi Chu, lights Amy Clark, clothes Daniel Kluger, sound Ahron Foster, photography Tim Teeman, The Daily Beast "It says something about the ingenuity of Tim Mackabee’s sets that the Atlantic’s moderately sized stage can be so plausibly transformed from woodland to car rental to basement, to file-stuffed office to homely apartments, to an office-like torture chamber and, finally, a quietly redemptive launderette." Steven Suskin, The Huffington Post "Tim Mackabee, of Guards at the Taj and the Bradley Cooper Elephant Man, provides an atmospheric unit set which proves highly effective." Robert Hofler, The Wrap "When Isaac and Yevgenia’s daughter (Rebecca Naomi Jones) escapes to the West, Tim Mackabee’s set and Lap Chi Chu’s lighting design turn it into a real event, especially if you’re sitting in the first two rows of the theater." https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/5ed91bc25590d908593088f1/1591286722535/ Projects SEARED MCC Theatre, New York City 2020 Outer Critic Circle Award, Outstanding Scenic Design 2020 Lucille Lortel Award Nominee, Outstanding Scenic Design by Theresa Rebeck Moritz Von Stuelpnagel, dir. David Weiner, lights Tilly Grimes, clothes Palmer Hefferan, sound Photos by Joan Marcus Elizabeth Vincentelli, The New York Times "While Harry busies himself creating edible masterpieces — the scenic designer Tim Mackabee’s working replica of a restaurant kitchen on MCC Theater’s smaller stage allows Esparza to actually cook — his business partner, Mike (David Mason, a master of the harried slow burn), is worried." Frank Scheck, The Hollywood Reporter ”There's so much real food cooked onstage on Tim Mackabee's ultra-realistic set that you wind up feeling cheated when free samples aren't provided.” Robert Hofler, The Wrap “It is best to see “Seared” on a very full stomach. Playing that very talented, difficult chef Harry, Raúl Esparza cooks up more than a few dishes on Tim Mackabee’s hyper-realistic set of a fully working kitchen at a boutique restaurant in the boroughs.” David Hurst, Talkin’ Broadway ”Moritz von Stuelpnagel, and the same expert design team, notably set designer Tim Mackabee, whose gleaming, functional kitchen is virtually a fifth character in Rebeck's drama.” Tim Teeman, The Daily Beast “Tim Mackabee’s efficient design is a longitudinal slice of the cluttered kitchen itself, and so we see the other characters quake from Harry’s nuttiness in a line. The door to the main restaurant swings dramatically open and shut after each explosion.” https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/54516e61e4b062dfa3cedd80/1414622817179/Tyson-1276.jpg Projects - Mike Tyson: Undisputed Truth Broadway | Longacre Theatre Spike Lee, dir. Natasha Katz, lights Erik Pearson, projections Raymond Schilke, sound https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/54516dbee4b08f2e104d0c50/1414622654657/Heathers1.jpg Projects - Heathers Off Broadway | New World Stages by Laurence O'Keefe & Kevin Murphy Andy Fickman, dir. Marguerite Derricks, choreo. Jason Lyons, Lights Amy Clark, Clothes Jonathan Messena, Sound https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/54530313e4b0000291120355/1414726419591/PS-OurNewGirl340.jpg Projects - Our New Girl 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.” https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/54504ff1e4b01bebc6d6c1b5/1414549489522/DTC%27s+The+Odd+Couple+-+Chamblee+Ferguson%2C+John+Taylor+Phillips%2C+Lee+Trull%2C+Hassan+El+Amin%2C+J.+Anthony+Crane%2C+Michael+Mastro+-+by+Karen+Almond.jpg Projects - The Odd Couple Dallas Theatre Center by Neil Simon Kevin Moriarty, dir. Tyler Micoleau, lights Jennifer Caprio, clothes Broken Chord, sound Additional Photos by Karen Almond Best Set Design, DFW Theatre Critics Forum Award Lawson Taittle, Dallas News “The Theater Center’s physical production is first-class all the way, especially Timothy R. Mackabee’s glorious thrust set, framed from above with architectural crown molding. The vista of another apartment building outside the dining room windows almost makes you smell traffic fumes and feel the breeze coming off the Hudson River.” Elaine Liner, Dallas Observer “By the second act, Oscar and Felix have fallen into comfortable rhythms as roommates. Oscar's eight-room Upper West side apartment has been transformed from reeking pigsty to gleaming showplace, thanks to Felix. (The sprawling L-shaped set by scenic designer Timothy R. Mackabee features parquet floors, gorgeous crown moldings and a view from the dining room windows into the kitchen beyond.) Oscar's enjoying home-cooked meals and for once his alimony payments are on time, courtesy of Felix's penny-strangling ways. When Felix mentions that his half of the rent is $120 a month, join the audience in a collective groan of nostalgia for 1965 Manhattan real estate prices.” Jenny Block, Edge Magazine “The set by Timothy R. Mackabee is nothing short of remarkable. It is multi-tiered and multi-roomed, including a complete kitchen and outdoor space beyond the apartment’s windows that are opened and closed throughout the show. A complete apartment fills the theater.” Lindsey Wilson, D Magazine “Timothy R. Mackabee’s marvelous thrust set, sporting plenty of crown molding and splendid attention to detail (get a load of that retro kitchen and bathroom, if you’re sitting on the right side), works in magnificent tandem with the rest of the top-notch production design. The meticulous groundwork laid by all involved that results in a such a breezy and hilarious show make this an Odd Couple worth rediscovering.” Mark Lowry, theatrejones.com “On Timothy R. Mackabee’s gorgeous set of a pre-war Riverside Drive apartment in Manhattan —the windows reveal the bricks of the building next door, and Broken Chord’s sound design gives the constant hum of city noise—Moriarty takes great advantage of the thrust part of the stage, on which Mastro, in particular, exhibits a knack for physical comedy.” Steven Doyle, Crave DFW “Bringing to life Simon’s story is set designer Timothy R. Mackabee (DTC debut), with a true-to-life representation of an Upper Westside Manhattan apartment. Audience members will get a look into all corners of the apartment, including a view at buildings next door.”     Clare Floyd DeVries, devriesdesigndiary.blogspot.com “Designed by Timothy R. Mackabee, these apartment walls are high and lavishly detailed with a built-in shelving unit and miles of moldings, more miles of crown-moldings, and an elaborate two-level wood parquet floor. Crisply built. As you'd expect at DTC, the furniture is good, including a period chandelier and great a '50s Modern style audio console. The play doesn't actually require much: it's the realistic living / dining room of a NYC apartment with an operable window, an entry door, a door to the kitchen, and door(s) off to the bathroom and the rest of the apartment. Of course, it's good practice to include realistic views through those doors and windows, to see a bit of the apartment building hall, a hint of kitchen, enough view of the rest of the apartment to make the place feel real. But this set goes faaaar beyond this. Through the windows you see a next door apartment that shares the light well - complete with drapes and lamps. Through the kitchen door and its windows you see the kitchen... can watch Felix or Oscar open the refrigerator. Or throw spaghetti linguine at it. Very nicely realized.” Michael Flesman, theflashlist.com “The highly architectural thrust stage set design (Timothy R. Mackabee) is replete with stately crown moldings, vintage furnishings, a retro rotary dial telephone, vinyl record albums, table-top doilies, and even a sherbet-green upright vacuum cleaner which the bow-tie clad Felix puts to use during one of his “cooking, cleaning, crying” spells.” John Garcia, The Column “Dallas Theater Center's The Odd Couple proved to be more than just a revival of a Broadway hit from the past. Through making the most of every trick in the book, this production stood on its own. One of the most impressive of these "tricks" was the set design by Tim Mackabee. The moment my wife and I walked into the theater, I knew we were in for a treat. The Odd Couple has traditionally been done on a proscenium stage. Mackabee created a pseudo-theater in the round experience with an innovative thrust-configuration unlike anything I've seen before. The unique nature of the extremely adaptable Wyly Theater allowed Mackabee to create a multi-tiered thrust that beautifully recreated Oscar Madison's living room. This set was far more than a mere facade visible to the audience. Through Oscar's windows you could see across the alley into the neighboring apartment, complete with window dressing and furniture. Through doors the audience only briefly sees fully realized rooms, creating a greater sense of realism for both the audience and cast member. The capstone of the set is the extension of the room's crown molding that extends over the stage creating an invisible fourth-wall, giving the audience the very real sense that they are looking into this apartment from the outside. This set must be seen to be appreciated. This was Macabee's first project with the Dallas Theater Center and my hope is it begins a long relationship as his work on this production has been some of the most innovative and effective I have seen.” https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/559d9fc7e4b00b2444921121/1436393415813/3235+copy.jpg Projects - THE ELEPHANT MAN Booth Theatre, Broadway Theatre Royal Haymarket, West End by Bernard Pomerance Scott Ellis, dir. Phillip Rosenberg, lights Clint Ramos, clothes John Gromada, sound Additional Photos by Joan Marcus Ben Brantley, The New York Times "Designed by Timothy R. Mackabee, Mr. Ellis's "The Elephant Man" makes discreetly poetic use of sliding curtains to echo imagery about illusion and concealment. The staging doesn't hit you over the head with implicit metaphors or sermonizing, which is just as well, since the script sometimes does." Marilyn Stasio, Variety "Timothy R. Mackabee’s stylized set pieces and Philip S. Rosenberg’s expressive lighting design keep reminding us that, like beauty and ugliness, reality is all in the eye of the beholder. Merrick looks like whatever people need him to look like in order to see their own reflections mirrored back at them. So, along with the dance-like movements of the chorus figures, all those curtains and mirrors and artificial lighting effects serve the playwright’s intention of revealing us to ourselves." David Rooney, The Hollywood Reporter "Ellis punctuates the play with interludes of procession-like formality on designer Timothy R. Mackabee's austere set. He embeds the stiff repression of the age into the measured entrances and exits, and uses curtains as a visual motif to underscore the themes of display and concealment. Philip S. Rosenberg's lighting meticulously defines moments of exposure or isolation; sound designer John Gromada's music adds melancholy texture; and Clint Ramos' costumes are highly effective, from the cruel hood and massive cloak that hide Merrick in the beginning to his tailored finery later on. Mrs. Kendal's beautiful gowns are a spectacle in themselves." Tom Teodorczuk, The Independent "Timothy Mackabee’s stylishly sombre set amplifies the disparity between Victorian mores and Merrick’s doomed quest for normality." Mark Kennedy, Associated Press "This two-hour revival, performed at a crisp pace, has been made handsome thanks to Timothy R. Mackabee's set design that leans on the ingenious use of multiple curtains — echoing doctor's office curtains that conceal and reveal in a flash — and Philip S. Rosenberg's moody and complex lighting work, which ranges from harsh overhead spotlights when Merrick craves dark corners, to the golden, genteel lighting of upper society." Matthew Murray, Talkin' Broadway "Timothy R. Mackabee’s set and Philip S. Rosenberg’s lighting, replete with dusty curtains and unforgiving illumination, fuse the play’s natural Brechtian undertones with a strong medical–freak show vibe, making the story at once timely and timeless, as well as theatrical and personal. (Clint Ramos designed the fine costumes.) And with swift pacing and an estimable cast that also includes Alessandro Nivola and Patricia Clarkson, the production hits all the marks, and does so accurately and smartly." https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/5663bdb3e4b00c1d30b1c703/1449377203528/Hats0006r-1024x683.jpg Projects - IMPORTANT HATS OF THE TWENTIETH CENTURY Manhattan Theatre Club by Nick Jones Moritz Von Stuelpnagel, dir. Jason Lyson, Lights Jennifer Moeller, Clothes Palmer Hefferan, Sound Joan Marcus, Photos Charles Isherwood, The New York Times "It's directed by Moritz Von Stuelpnagel with the same pedal-to-the-floor intensity he brings to "Hand to God" on Broadway. The sets, by Timothy R. Mackabee are inventive and stylish as are the natty costumes by Jennifer Moeller." Phoebe Hoban, Village Voice "Directed by Moritz von Stuelpnagel, the play makes clever use of both its minimal set — a clothes rack, a door, a table — and its versatile actors, most of whom play multiple wacky parts." Helen Shaw, Time Out New York "Timothy R. Mackabee's set consists of a rack of clothes and a rolling door, which can be wheeled around at hurricane speed, allowing for any number of very silly gags." Jennifer Vanasco, WNYC News "But if silliness appeals, then you're likely to appreciate the wit of this stylish production, which is directed by Hand to God's Moritz von Stuelpnagel. That's partly due to Timothy R. Mackabee's scenic design: a spinning door is used as everything from a portal to another time to the ordinary entrance of a clothing factory. A metal clothing rack provides props for a whole scene. " Zachary Stewart, theatremania.com "Bathed in Jason Lyon's noir lighting, Timothy R. Mackabee's nifty set features a door on castors reconfigured into seemingly infinite new spaces. A rolling clothes rack is the other major item, keeping us in the realm of fashion while offering space for Jennifer Moeller's impressive array of costumes." Matthew Murray, talkinbroadway.com "Timothy R. Mackabee's bits-and-pieces set helps von Stuelpnagel tremendously (the swirling time travel sequences are rendered with a sublime, perspective-skewing silliness), as do Jason Lyons's anything-for-a-laugh lighting." David Barbour, Lighting & Sound America "Under the circumstances, Timothy R. Mackabee's extremely spare set design -- a clothes rack, a doorway, and a few furnishings -- is a good idea, allowing the action to move as fast as possible. (It's not clear if he designed the upstage wall, a typical arrangement of bricks and radiators, but if he did, it looks great.)" (He did.) Michael Hartung, theasy.com "Through a successful collaboration between actors, designers, and director the audience is welcomed into New York in the 1930s and more. Timothy R. Mackabee’s set is as simple as they come, but impressive versatility and a little imagination allow it to transform the small theatre at New York City Center into new location after new location."     http://www.timothymackabeedesign.com/press daily 0.75 2014-12-14 https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/548e0534e4b0a90d5ce75c9c/1418593590066/ Press https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/546c0b78e4b0a75239507663/1416366968752/67465509.jpg Press http://www.timothymackabeedesign.com/new-page-3 daily 0.75 2020-12-10 http://www.timothymackabeedesign.com/contact daily 0.75 2014-10-29 https://static1.squarespace.com/static/54500f70e4b0c02a65bab5cd/t/54506bd2e4b0b0f80342c5d0/1414556682890/new+gersh.jpg Contact