Minor Character, The Invisible Dog Arts Center
NEWYORKTHEATREREVIEW.BLOGSPOT.COM, RACHEL KERRY
"The Invisible Dog Art Center has an intense atmosphere to it, the remnants of it’s days as a factory still hanging in the air, what scenic designer Kristen Robinson and Lighting Designer Masha Tsimring have built on top of that is wonderful. Every corner of the large, loft like space, is utilized with old furniture, record players, books (Lena Dunham, the Feminine Mystique, Patti Smith) and computers. The result is the feel of an old country house, one that has accumulated many memories and is in slight disrepair. Tsimring uses lamps, work lights and even natural light to play off the Invisible Dog’s structure, creating a space that is both warm and mysterious. There is a sense that you never know what is around the corner here, the actors continually step out of darkness and into the action, sometimes without you even seeing where they entered from. Between the set and lighting, it’s a blend of techniques that pulls the audience in and holds them in this world to the very last moment."
Love's Labour's Lost, Idaho Shakespeare Festival
IDAHO STATESMAN, DANA OLAND
"Idaho Shakespeare Festival’s new production of “Love’s Labor’s Lost” is a like a breath of fresh air. Filled with sparkling performances, inventive staging, sets and costumes that enrich the narrative under beautiful lighting "
"This production was first created for Cleveland’s Hanna Theatre, an indoor venue run by ISF’s sister company Great Lakes Theater. I’m sure it was lovely there, but here in the Boise Foothills it opens up and sings."
"Kristen Robinson’s set drives the story in a really interesting way. It’s a library, with its tall stacks filled with books, busts of great thinkers and globes, yet it’s being encroached upon by nature. Green grass serves for carpet, the Idaho-blue sky peeks through. The shelves and ladders become a jungle gym as the men climb, hide, and toss books aside to get a better view of the ladies. "
And a Nightingale Sang, Westport Country Playhouse
NEW YORK TIMES, DAVID DeWITT
There’s so much to love — including the lights, the sound and the sharp-angled set — in this production of “And a Nightingale Sang.”
The Liar, Westport Country Playhouse
NEW YORK TIMES, SYLVIANE GOLD
"Clever, irreverent production designs by Kristen Robinson"
HARTFORD COURANT, FRANK RIZZO
"Kristen Robinson's set is simply stylish in its forestry filigree."
Rapture, Blister, Burn The Wilma
PHILADELPHIA INQUIRER, DAVID PATRICK STEARNS
"The stylish production designed by Kristen Robinson opens with a house furnished with children's toys (nothing for adults), setting up a fanciful atmosphere for life-changing matters to be handled with a light touch. Lack of realism allows characters to deliver lines facing the audience, asking "Is this anything like your life?"
WHYY/NEWSWORKS, HOWIE SHAPIRO
"Kristen Robinson's set design is composed of basic furniture and a blank back wall except for one word on it: Home. Just where is home? Well, let's see. We could talk theory. Or we could talk reality."
BROAD STREET REVIEW, NAOMI ORWIN
"Rapture, Blister, Burn, the new play by Gina Gionfriddo now showing at the Wilma Theater, is set at Home. The large word on the wall behind the actors tells us where we are. We bring our own connotations about what Home means, but the reality is that no one is at home in the world of this play. "
PHINDIE.COM, JULIUS FARRARO
"The production has a lot going for it. Designer Kristen Robinson fills the Wilma’s large proscenium with a massive white field, effectively providing an abstract space in which characters can move. This also removes them from their contexts to put them on equal ground."
"Director, Joanna Settle serves Gina Gionfriddo’s Rapture, Blister, Burn, straight up on an egg-shell-white stretched stage. Allowing room for the audience brains to expand at the sight of the word: “Home” looming over the play’s action written in razor thin font. “Home” the very sound of the word can make the strongest among us tear up."
Nora, Westport Country Playhouse
NEW YORK TIMES, ANITA GATES
"The production looks magnificent. Kristen Robinson’s set puts Nora Helmer and her husband, Torvald, not in a fussy or formal 19th-century parlor, as we so often find them, but in a stark, contemporary Scandinavian living room. The neutral back wall is distinguished by a graphic slash of darkness, suggesting 50-foot ceilings and a suicide-provoking alienation born of too many sunless winters. A few pieces of simple furniture and a densely, ornately decorated Christmas tree in an upstage corner complete the picture."
"The ending, on the other hand, is inspired and heart-rending. Beginning 135 years ago, when Norwegian theatergoers were first shocked by Ibsen’s story, few audience members have been likely to feel sorry for Torvald. Speculation about events after the play’s ending almost always focuses on Nora, who exits with what has been called the door slam heard around the world. Mr. Kennedy’s daring choice and the cruel play of lighting (by Matthew Richards) that accompanies it consider the husband’s terror and prove that stage nudity can still be shocking, in a profoundly emotional way."
The Seagull, Yale School of Drama
NEW HAVEN REVIEW, DONALD BROWN
"As we are self-consciously in a theatrical space throughout, one could say the play takes place in a sort of Chekhov set of the mind, asking us to wonder what it is exactly that realist drama symbolizes. And if that’s the sort of question that young, earnest and possibly deluded Kostya would ask, so be it. Which is another way of saying that the play feels like it’s very much in the mind of Kostya"
NEW HAVEN THEATER JERK, CHRISTOPHER ARNOTT
"Walking sticks rattle on the ground. Chairs tumble over. The stage is messy, as befits such a scattered group of jealous and love-starved malcontents. "
Persona, Yale Cabaret
NEW HAVEN THEATER JERK, CHRISTOPHER ARNOTT
"The effect of Bergman’s words, on a wide open stage that spans the length of the Cabaret space, played by humans who touch and spit at each other without distancing camera angles, is mesmerizing, lulling, transfixing. The concept of remoteness is handled with translucent curtains and, well, projection screens, but in a subtle manner that suits a mood also imbued by ’60s pop music, home movies and sensitive lighting."