Fun and Fierce, RLT’s Don’t Dress For Dinner Will Have Viewers Laughing Every (Mis) Step of the Way
“Fortunately, Torres manages to clearly and artfully direct this twisted little story so that the audience is always in on the jokes. Strong performances, all played-out against a beautifully-designed French home set- complete with plenty of doors for hilarious entries and exits throughout- also add to the fun of the production.”
Theatre Review – Don’t Dress For Dinner
“Torres has staged the action quiet close to the audience: perfect for observing the tomfoolery. Elizabeth Newton’s set is warm and welcoming, while Jeremy Diamond’s mostly fitting lighting contains some superfluous, distracting shifts. Vicki Olson’s costumes are exaggerated just enough to comply with farce and they delineate nicely the characters’ social status.”
“All this happens in the confines of a repurposed French farmhouse, exquisitely designed by Elizabeth Newton and lighted by Jeremy Diamond. Every detail has a function, and even the rooms have names that are part of the story.”
Review: What happens when Prince Charles becomes king? This play imagines a scenario.
“Burning Coal brings its considerable resources to one of its best recent productions. Director Karen O’Brien choreographs 14 cast members with stylish precision, vividly turning Elizabeth Newton’s royal blue thrust platform into palaces, cathedrals and street corners, aided by Christopher Popowich’s mood-setting lighting and Bonnie Raddatz’s character-defining costumes.”
King Charles III: Burning Coal Gives a Glimpse into the Near Future
“Burning Coal’s unique, intimate thrust stage created certain demands for director Karen O’Brien and set designer Elizabeth Newton, forcing sparse sets that do not obstruct the audience’s view, but still manage to convey everything from Buckingham Palace to a shawarma kebab stand out in the streets of London.”
Wry Plot Twists and Poignant Human Truths Make BCTC’s King Charles III a Must-See Show
“The entire play is performed on a regal, double-risered platform, painted royal blue as if it were a rich and palatial carpet. Credit for this set goes to designer Elizabeth Newton.”
“The show is being staged in Peace University’s Leggett Theatre because RLT’s Gaddy-Goodwin Teaching Theatre’s renovations are delayed. Elizabeth Newton’s three-tiered set design cleverly designates office locations with details of architectural drawings. There’s additional seating on both sides of the playing space, thrusting audience members into the thick of things but causing sight-line problems during several scenes.”
RLT Gets Its “Ducts in a Row” with Theresa Rebeck’s What We’re Up Against
“The show’s production values are impeccable. Scenic designer Elizabeth Newton has supplied a well-laid out multi-levelled schematic of the firm that defines the various offices. It is no accident that Stu’s office is at the top level, that both women’s offices are at the bottom, and that Eliza’s office is ridiculously small. It is also no accident that these areas are signified in such a fashion as to suggest architectural schematics.”