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Press
The Wedding Singer
Millbrook Playhouse | Ryan Mainstage
"The set looks like a confection, a bon bon, lit with luscious, creamy pinks and purples. Pink streamers fan off into the nearest seats, and paper wedding bells decorate the ceiling. Love is surely in the air as Millbrook's musical comedy "The Wedding Singer" invites us into the year 1985 with a whirlwind romance whose colors, moods, and unexpected textures create an exuberant, kaleidoscopic performance that will leave you applauding all of love's myriad complexities -- as well as its tender rewards."
"The 80s timeframe allows the play to comment briefly on the era's expanding corporate world and its materialistic values (the corporate money scene is appropriately lit in a sickening green), but it also provides endless opportunities for humor."
"The production, once again, lives up to Millbrook's highest standards. The ensemble work is beautifully choreographed and executed, the multiple costumes works of creative ingenuity, and the lighting both enhancing and provocative."
Karen Elias, The Express
Hair
Civic Theatre of Allentown | 19th Street Theatre
"The production's technical staff is top-notch: Costume Designer Rigby Maiatico, Wig Designer Kim Danish, Props Designer Jason Daniel Sizemore, Lighting Designer Sarah Goldstein, Sound Designer Carl Link, Technical Director-Set Designer Josephine Genuardi and Scenic Artists Colleen Algeo and Bill Algeo."
Paul Willistein, Lehigh Valley Press
"Josephine Genuardi’s set design creates an eclectic hippie enclave, using rolling stair units, platforms, and an array of found objects salvaged from the excesses of throw away materialism. Lighting designer Sarah Goldstein adds visual variety and sculptural dimension, shaping the space with nuance and energy. Rigby Maitico’s costumes capture the 1960s aesthetic with flair, grounding the production firmly in its era."
Franklin Joseph, Community Review, Stage Magazine
Orfeo
Lyric @ Illinois | KCPA Tryon Festival Theatre
"Because this opera is written in a Renaissance/Baroque style and employs neo-platonic allegorical personas, such as Music and Mercy, it might seem antiquated to a modern audience. But, such is the power of Monteverdi's music, and the splendid staging of this production that the opening night performance had strong emotional power. All aspects, singing, dancing, instrumental episodes, scenic design and lighting, united to bring out the still vital forces in this masterwork."
"Music director Andrea Solya's conducting drew a well-coordinated performance from the chorus, the pit orchestra, the string players on stage and the quartet of trombones from the balcony. Dawn Harris' direction maintained a lively flow of action, and Rachel Rizzuto's choreography gave delight to the eye. The costumes designed by Khetag Tsabolov, in rustic Bulgarian style, combined the realistic and picturesque. Brian Sidney Bembridge's scenic design created splendid vistas, especially the green world at the end of the opera. The lighting design by Sarah Goldstein aptly underlined the dramatic crises of the story. Others who contributed to such an accomplished production were sound designer Lizi Shaul, media designer Lili Federico and stage manager Jessica Reddig."
John Frayne, The News Gazette
Dracula A Feminist Revenge Fantasy, Really
Illinois Theatre | Krannert Center at the Virginia
"Between acts, I migrated seats — an underutilized perk of general admission — to better appreciate the technical wizardry at work. Fallon Podrazik’s dual-revolve set design propels the action with mechanical precision, while Sarah Goldstein’s lighting renders the gore and pathos in stark relief. Daniella Brown’s sound, a throbbing techno-gothic pulse, melds seamlessly with Danielle Johnson’s projections to create some of the evening’s most electric moments. Vi Manova’s costumes nod to Victorian propriety while sidestepping period fetishism — from Renfield’s artfully distressed straightjacket to Mina’s verdant ensembles and Van Helsing’s utilitarian garb."
Amy Penne, Smile Politely
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