Todd Rosenthal Design Studio

Samuel J. Friedman Theatre, Broadway

Kennedy Center (Cancelled)

“Shapiro’s production has been majorly and satisfyingly scaled up for Broadway. The library is much bigger and brighter (sets by Todd Rosenthal, lights by Jen Schriever); the costumes (by Clint Ramos) telegraphic in their sociology and the bassoon-heavy interstitial music (by Rob Milburn and Michael Bodeen) almost cartoonishly apt.” New York Times

“5 Reasons to See Eureka Day on Broadway: 4. That Set. As someone who is from California, the Eureka Day set (by Todd Rosenthal) took me back home. If you've ever gone to school in California, you know that we love an outdoor campus, and Eureka Day captured that sense of openness and light very accurately. And if you're a fan of set design that looks simple on the surface but is actually filled with dramaturgical details, then the Eureka Day set is a goldmine.” Playbill

 Director: Anna D. Shapiro

Costumes: Clint Ramos

Lighting: Jen Schriever

Sound: Michael Bodeen and Rob Milburn

Projections: David Bengali

Photos: Jeremy Daniel

Cincinnati Playhouse in the Park

Broadway Try Out

“Immediately after walking into the theatre, the set alone creates an impact. Brilliantly designed by the Tony Award-winning Todd Rosenthal, the crooked backdrop demonstrates the dark instability of the show’s content. Every scene has an immaculate design and smoothly transitions into the next.” Broadwayworld.com

Directed by Wendy Goldberg

Associate Set Designer Sotirios Livaditis

Costumes: Jen Caprio

Lights: Josh Epstein

Projections: Yee Eun Nam

Sound: Connor Wang

Photos by Mikki Schaffner

The Goodman Theatre, Shakespeare Theatre Company, DC, Berkeley Repertory Theatre

Winner, Joseph Jefferson Award for Best Set Design

Directed and Adapted by Mary Zimmerman

Associate Set Designer- Sotirios Livaditis

Costume Design: Ana Kuzmanic

Lighting Design- TJ Gerkins

Dragon Puppet by Tom Lee

Photos by Liz Lauren

Alliance Theatre

Winner: Suzi Bass Award for Best Set Design of a Musical

Book by Phillip DePoy

Music by Kristian Bush

Directed by Susan V. Booth

Associate Set Designer- Sotirios Livaditis

Costumes by Kara Harmon

Lighting by Xavier V. Pierce

Longacre Theater, Broadway

“Handsome, meticulously designed production (featuring impressive Walker Evans-evoking sets by Todd Rosenthal).” New York Times

“The design work is breathtaking” Variety

Director: Anna D. Shapiro

Costumes: Suttirat Larlarb

Lights: Japhy Weideman

Sound: Michael Bodeen and Rob Milburn

Goodman Theatre

Joseph Jefferson Award Nomination for Best Set Design

“It is not often that a review begins with a description of the set design for a play. But the world of “Uncle Vanya” that Todd Rosenthal and lighting designer Keith Parham have created for director Robert Falls’ grand-scale production of the Anton Chekhov classic that is now at the Goodman Theatre is so evocative in its mix of the splendor of a certain way of life, and the decay that invariably eats away at all life, that it demands instant attention. You enter the theater, and you ache to live within its walls.” Chicago Sun-Times

Director: Robert Falls

Associate Set Designer: Reuben Lucas

Costumes: Ana Kuzmanic

Lights: Keith Parham

Sound: Richard Woodbury

Photos by Liz Lauren

Lookingglass Theatre

Winner, Joseph Jefferson Award for Best Set Design

“The aesthetic consistency of the physical milieu — the work of a team led by Todd Rosenthal, who designed the set, and including the puppet designers Blair Thomas, Tom Lee and Chris Wooten — is a highly impressive feat. It’s fiendishly difficult to simultaneously stage environments that are underwater and on dry land: just ask Disney, which came a cropper with “The Little Mermaid” in that regard. With the help of Christine Binder’s lighting and Sully Ratke’s costumes, these folks pull that off. Rosenthal’s design — which you really should experience — starts you out on the top of Nautilus, peering into the innards of the great sci-fi machine. Then there’s a whirring and a clicking — all good signs when you’re doing Verne — and you descend into Nemo’s terrifying lair.” Chicago Tribune

Adapted by David Kersnar and Althos Low

Director: David Kersnar

Associate Set Designer: Arnel Sancianco

Costumes: Sully Ratke

Lights: Christine Binder

Sound: Andre Pleuss

Puppets: Blair Thomas

Photos by Liz Lauren

Steppenwolf Theatre Company, Imperial Theatre (Broadway), Music Box Theatre (Broadway), National Theatre of Great Britain, Sydney Theatre (Australia)

Tony Award for Best Set Design, Laurence Olivier Award for Best Set Design (First American Set Designer) and Joseph Jefferson Award for Best Set Design

Model is currently displayed at the Museum of Broadway in New York City.

“Even a doll's house can be ironic. Todd Rosenthal's enticing design for August: Osage County frames the dire action of a family reunion in a cute Oklahoma homestead that looks like a child's drawing: steep gables, white beams, rooms made for eavesdropping.” London Guardian

Director: Anna D. Shapiro

Associate Designer: Kevin Depinet

Costumes: Ana Kuzmanic

Lighting: Ann G. Wrightson

Sound: Richard Woodbury

Purpose

By Branden Jacobs-Jenkins

Steppenwolf Theatre Company/ Hayes Theatre, Broadway

Joseph Jefferson Award Nomination for Best Set Design

Director: Phylicia Rashad

Associate Set Designer: Sotirios Livaditis

Costume Designer: Dede M Ayite

Lighting Designer: Amith Chandrashaker

Sound Designers: Rob Milburn and Michael Bodeen

Photos by Michael Broslow

Steppenwolf Theatre

Director: Jeremy Herrin

Associate Set Designer: Sotirios Livaditis

Costume Designer: Raquel Adorno

Light Designer: Heather Gilbert

Sound Designer: Mikhail Fiksel

Noises Off

Steppenwolf Theatre and Geffen Playhouse

Director- Anna D. Shapiro

Associate Set Designer- Sotirios Livaditis

Costume Designer- Izumi Inaba

Lighting Designer- Josh Epstein

Sound Designer- Cricket Myers

Production Photos by Michael Brosilow

Alliance Theatre

Winner: Suzi Bass Award for Best Set Design of a Play

“The production has its own charms and delights, overstuffed like a Christmas goose, centered around a clever, four-sided set, designed by Todd Rosenthal. An imposing brick clock tower sits in the middle. The offices and living rooms and storefronts spin around on a turntable, with a cobbled street in front. Add a gentle snowfall and the heavy dresses and frock coats of 19th-century costumes (designed by Mariann Verheyen) and it’s a nostalgic treat for the eyes.” Atlanta Journal-Constitution

Director: Leora Morris

Associate Set Designer (and hands in video): Alan Schwanke

Costume Design: Mariann Verheyen

Lighting Design: Greg Hoffman

Puppet Design: Tom Lee and Blair Thomas

The Goodman Theater

Joseph Jefferson Award for Best Production

“Ana Kuzmanic’s lush costumes draw us into the period specificity and social order, while Todd Rosenthal’s set — which moves between elaborately detailed and minimalist — captures the grandeur and decay of the former aristocracy.” Chicago Sun-Times

“Todd Rosenthal’s set is divine” Around the Town Chicago

2023 Joseph Jefferson Award for Best Production

Directed by Bob Falls

Associate Set Designer: Sotirios Livaditis

Costumes by Ana Kuzmanic

Lighting by Keith Parham

Sound by Richard Woodbury

Choreography by Tommy Rapley

Photos by Liz Lauren

By Christina Anderson

Berkeley Repertory Theatre and The Goodman Theatre

“When you enter the Peet's Theatre, it's as though you have stepped into the basement of your local YMCA. For there in front of you is the sliver of pool, the tiled decking, the concrete stairs, the glass case filled with trophies, the pool equipment, and three large windows pouring in light from above. The only thing missing in Todd Rosenthal's delightful design is that acrid hint of chlorine in the air.” Talkin’ Broadway

“Set design by Todd Rosenthal is spectacular. The take on a public pool couldn’t be more realistic—emerald tiles display years of grime, mildew stains creep down the walls, water pipes really work!” NewcityStage

Directed by Jackson Gay

Associate Set Designer: Sotirios Livaditis

Costumes: Montana Levi Blanco

Lighting: Jason Lynch

Sound: Noel Nichols, Uptown Works

Photos by Liz Lauren

Goodman Theatre

Joseph Jefferson Award Nomination

“Set against a toe-tapping soundtrack by composer Justin Ellington that vacillates between bouncy 90’s pop and easy, smoldering jazz, the delightfully inventive set conceived by Todd Rosenthal provides the cast with a glorious playground.” Chicago Reader

Director: Niegel Smith

Costumes: Jenny Mannis

Lights: Allen Lee Hughs

Sound: Richard Woodbury

Photos by Liz lauren

Goodman Theatre

Joseph Jefferson Award Nomination for Best Set Design

Revised and remounted at Osolo Repertory Theatre. Osolo production directed by Frank Galati. Co-Designer: Alan Schwanke www.aeschwanke.com

“Todd Rosenthal's set is a work of great Southern Gothic elegance, replete with thick curtains, a sense of the natural world outside, and a dining room at the rear of the stage. Hubbard-land is rendered in such detail that, at intermission, you could see audience members trying to peer into that half-hidden dining room, hoping to fathom just how far back and around this set actually went. And at the top of Act 2, Rosenthal and his lighting designer, David Lander, combine on a truly eye-popping re-creation of a musty, shadowy house waking up to a Southern morning. The cold light of day seems to creep into every crevice.” Chicago Tribune

Joseph Jefferson Award Nomination for Best Set Design

Director: Henry Wishcamper

Associate Set Designer: Reuben Lucas

Costumes: Jenny Mannis

Lights: David Lander

Sound: Richard Woodbury

Photos by Liz Lauren

Lookingglass Theatre Company

” The place to go is Chicago’s Lookingglass Theatre, which is streaming Mary Zimmerman’s near-wordless pantomime version of “The Steadfast Tin Soldier,” Hans Christian Andersen’s fairy tale about a tin soldier who loves a paper ballerina. Not since George Balanchine’s 1975 ballet version have I seen a “Steadfast Tin Soldier” of comparable quality. Taped last year before an audibly appreciative audience in the company’s 240-seat house, it’s a truly magical confection, just over an hour long (not counting a half-hour of pre-show features) and packed so full of colorful circus-style costumes, puppets of all sizes and fancifully stylized scenery and set pieces that it seems even shorter. Ms. Zimmerman, best known for her Tony-winning 1996 stage adaptation of Ovid’s “Metamorphoses,” is assisted by a team of designers deserving of abundant praise, starting with Todd Rosenthal (scenery) and Ana Kuzmanic (costumes), both of whom have outdone themselves. The original score, written for a five-piece pit band by Andre Pluess and Amanda Dehnert, is light-textured and charming.” Wall Street Journal

Directed and Adapted by Mary Zimmerman

Associate Set Designer: Lauren Nigri

Costumes: Ana Kuzmanic

Lights: TJ Gerkins

Music/Sound: Andre Pleuss/ Amanda Dehnert

Puppets: Chicago Puppet Studio

Photos by Liz Lauren

Lookingglass Theatre, Berkeley Repertory Theatre

Bay Area Theatre Critics Circle Award for Best Set Design

“Design is invariably a crucial element for Zimmerman, and her collaboration with Todd Rosenthal (and lighting magician TJ Gerckens) is nothing short of sublime here. From the moment audiences enter the theater they are enveloped in the architecture of a massive ship, the Hispaniola, complete with gangplank, ropes, ladders and trap door. The naval life of the British empire is palpable, and thrilling, as is the fact that this ship can be made to truly roll on the waves.” Chicago Sun-Times

Directed and Adapted by Mary Zimmerman

Costumes: Ana Kuzmanic

Lights: TJ Gerkins

Sound: Andre Pleuss

Photos by Liz Lauren

By Mark Rylance and Louis Jenkins

Guthrie Theater/ American Repertory Theater/ St. Ann’s Warehouse, Brooklyn/ Harold Pinter Theatre, West End, London

2017 INDEPENDENT REVIEWERS OF NEW ENGLAND (IRNE) AWARD NOMINATION FOR BEST SET DESIGN

2016 AMERICAN THEATRE WING HENRY HEWES DESIGN AWARD NOMINATION

“ Todd Rosenthal’s slightly ersatz set and Sarah Wright’s puppets are a delight – at first it all just looks very cute, but as the play drifts on it occurs that this may not all be real, more an existential fable about middle age and mortality and less about an actual fishing trip.” Time Out, London

“The ice booms and cracks. Wolves howl. A sweep of rippled white sheet evokes the frozen lake in Todd Rosenthal's beautifully evocative and impish set, which suggests the mighty distances by playing games with perspective – dinky trees; miniature puppets, and (a bizarrely incongruous touch of a Las Vegas-type 'desert island') a fibre optic palm tree twinkling away in the tundra. You don't need a worrying weakness for whimsy to enjoy this piece.” The Independent

Director: Claire Von Kampen

Set Designer: Todd Rosenthal

Costume Designer: Ilona Somogyi

Lighting Designer: Japhy Weidemen

Sound Designer: Scott W. Edwards

Puppetry: Sarah Wright

Photos by Evgenia Eliseeva and Sara Krulwich

Steppenwolf Theatre/ Mark Taper Forum/ Manhattan Theatre Club

Joseph Jefferson Award Nomination for Best Set Design

“The play unfolds in two highly distinct workplace settings — La Cave du Vin and an eccentric used furniture and upholstery store owned by Matt’s parents — that scenic designer Todd Rosenthal brings to vivid life.” Los Angeles Times

“At first glance, the play, which is directed by Kenny Leon with a palpable sense of enjoyment and enhanced by the simple but shrewdly epic settings of Todd Rosenthal” Chicago Tribune

“Todd Rosenthal’s incredibly detailed set design will astound. From the initial bar setting to an Act II second hand store — both thriving, then on the verge of closing — the actors are well served by their surroundings.” Stage and Cinema

Leon also gives us a surprise at the beginning of the second half of the two-hour play with a stunning reveal of Todd Rosenthal’s set, which takes us from the wine bar to the old curiosity shop owned by Matt’s parents, where a symbolic globe of the world doubles as a bar and basketball hoop, and a stuffed armadillo (the men’s spirit animal) presides over it all. Theatermania

Scenic designer Todd Rosenthal also makes a terrific contribution with his two sets, one depicting a would-be trendy wine bar and the other an overstuffed antique shop filled with quirky knickknacks. New York Stage Review

Associate Set Designer: Alan Schwanke

Directed by: Kenny Leon

Costumes: Samantha C. Jones

Lighting: Lee Fiskness

Photos by Craig Schwartz

Irish National Opera

“Everything Barnes assembles and oversees for this production is a triumph: the large, classic designs (Todd Rosenthal), the vivid yet straightforward costumes (Joan O’Clery), the grace and flow of movement (Libby Seward), and the judiciously chosen cast and chorus” Irish Times

Director: Ben Barnes

Costumes: Joan O’Clery

Lights: John Comiskey

Goodman Theater, Arena Stage

Winner, Helen Hayes Award for Best Set Design/ Joseph Jefferson Award Nomination for Best Set Design

“Todd Rosenthal's formidable design combines the messy realism of the Rothko studio with a sense that his entire creative process is contained by an outer canvas skin — it retains the crucial sensuality of person-to-person combat.” Chicago Tribune

Director: Robert Falls

Costumes: Birgit Rattenborg Wise

Lights: Keith Parham

Sound: Richard Woodbury

The Goodman Theater

“Set designer Todd Rosenthal gives us a beautiful, period-ballfield background, and then conveys a bumpy bus ride through the use of bleachers.” Chicago Sun-Times

Directed by Ron OJ Parsons

Associate Set Designer: Sotirios Livaditis

Costumes: Mara Blumenfeld

Lighting: Keith Parham

Projections: Mike Tutaj

Sound: Andre Pleuss

Chicago Shakespeare Theater

Joseph Jefferson Award Nomination for Best Set Design

“A Midsummer Night’s Dream” was visually spectacular. Designs by Todd Rosenthal (scenic) and Fabio Toblini (costume) created stark worlds between the royalty, fairies and acting troupe. Each reveal was exciting and the architectural interplay among the pieces was gorgeous.” Newcity

Director: Joe Dowling

Associate Set Designer: Sotirios Livaditis

Costumes: Fabio Toblini

Lights: Greg Hoffman/ Jesse Klug

Sound: Christopher M. LaPorte

Photos by Liz Lauren

Steppenwolf Theatre Company, Mark Taper Forum, Hayes Theatre, Broadway

LA Stage Alliance Ovation Award Nomination for Best Set Design

“The play was commissioned by and premiered at Steppenwolf, Letts’ home base, in April 2017; the entire team, with the exception of two cast members, appears to be intact. Also very much in evidence is Steppenwolf designer Todd Rosenthal, who won a Tony and an Olivier for August: Osage County. Rosenthal’s set makes grand use of a turntable, with the actors literally running through the rooms (to get to the bedroom) while the table ever-so-swiftly turns against them.” Steven Suskin, New York Stage Review

Director: Dexter Bulliard

Associate Set Designer: Alan Schwanke

Costumes: Laura Bauer

Lights: Marcus Doshi

Sound: Richard Woodbury

Steppenwolf Theatre Company

Joseph Jefferson Award Nomination for Best Set Design

“Set in the war-torn Central African Republic, the action is confined to a colonial estate mansion, beautifully designed by Todd Rosenthal and lit by Scott Zielinski.” BroadwayWorld

Director: Tina Landau

Costumes: Clint Ramos

Lights: Scott Zielinski

Sound: Michael Bodeen and Rob Milburn

Photos by Michael Brosilow

Various Productions

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Goodman Theatre

Director: Steve Scott

Costumes: Amy Clark

Lights: Aaron Spivey

Sound: Richard Woodbury

Photos by Liz Lauren

Goodman Theatre

“Flawlessly cast, wittily staged and delightfully designed, this “Wonderful Town” is good enough to hop a plane to see—and once it closes in Chicago, it deserves a Broadway run of its own… Todd Rosenthal’s set, a collection of moving skyscraper cutouts that suggests a cross between a comic book and Charles Sheeler’s hard-edged cityscape paintings, establishes a winning visual tone for the production.” Wall Street Journal

Director: Mary Zimmerman

Costumes: Ana Kuzmanic

Lights: TJ Gerkins

Sound: Ray Nardelli

Photos by Liz Lauren

Writers Theatre

“So I consider William Brown's highly successful updating of "Company" — with smartphones and all — at the Writers Theatre in lucky Glencoe a formidable achievement, seemingly reached without compromising a word or a note in the original text or score… This is achieved with the help of a brilliant metaphor baked into Todd Rosenthal's deceptively simple setting: the giant, partially open window to a Manhattan apartment, through which we spy on all that goes on in Bobby's life, and head.” Chicago Tribune

Director: William Brown

Costumes: Rachel Healy

Lights: Jesse Klug

Sound: Josh Horvath

Photos by Michael Brosilow

Steppenwolf Theatre

“Talented scenic designer Todd Rosenthal must be heartily congratulated for the inventive, imaginative way in which he’s filled this versatile and exciting new theatre space, installing his breathtaking artistry from floor to ceiling. Every square inch of the impressive, in-the-round Ensemble Theatre has been transformed into Chekov’s world.” Chicago Theater Review

Director and Adapter: Yasen Peyankov

Associate Set Designer: Sotirios Livaditis

Costume Designer: Ana Kuzmanic

Lighting Designer: Marcus Doshi

Sound Designer and Composer: Pornchanok Kanchanabanca

Goodman Theatre

“Here, Todd Rosenthal’s monumental, slanting glass skylight (with expert lighting by Robert Wierzel) is a perfect metaphor for transparency, or the lack of it, with scene changes suggesting an upending of order.” Hedy Weiss WTTW

Director: Robert Falls

Costumes: Ana Kuzmanic

Lights: Keith Parham

Sound: Richard Woodbury

Photos by Liz Lauren

Court Theatre/ Oriental Institute, University of Chicago

Joseph Jefferson Award Nomination for Best Set Design

“This is a formidably powerful piece of solo theater, here performed on a spectacular setting from Todd Rosenthal that evokes the rubble of history and of lessons mankind consistently fails to learn.” Chicago Tribune

Director: Charles Newell

Costumes: Rachel Healy

Lights: Keith Parham

Sound: Andre Pleuss

Photos by Michael Brosilow and Liz Lauren

The Guthrie Theatre

“Harry (Jeff Still), a Jersey junk dealer, has checked into a deluxe Washington hotel suite (and it looks all of $235 a day in Todd Rosenthal’s elegant set).” Star Tribune

Director: John Miller Stephanie

Costumes: Matt LeFebvre

Lights: Marcus Dilliard

Apollo Theater

Director: West Hyler

Associate Set Designer: Sotirios Livaditis

Costume Design: Montana Levi Blanco

Lighting Design: Zachary Blane

Sound Design: Ray Nardelli

Projection Design: Rasean Davonte Johnson

Oregon Shakespeare Festival

“Guest director Jessica Thebus’ production of the familiar tale captures that magic throughout, drawing on the beauty of Todd Rosenthal’s gorgeous and engaging set to transport us from our own mundane realities to an utterly enchanting evening.” The Register- Guard

Director: Jessica Thebus

Costumes: Linda Roethke

Lights: Jane Cox

Sound: Andre Pluess

The Guthrie Theater

Director: John Miller-Stephanie

Costumes: Mathew LeFebvre

Lights: Peter Mumford

Sound: Scott W. Edwards

Steppenwolf Theatre

“A central theme is the fluidity of identity. Ms. Shapiro’s staging, on a handsome set designed by Todd Rosenthal, reinforces the idea. At times we see, through scrims, the various Mary Pages standing like sentinels looking on at the scene being played before us. Their faces are barely visible, but their expressions appear to be blank, as if the woman they are watching were not another version of themselves, but a stranger whose mysteries they could never hope to fathom.” New York Times

By: Tracy Letts

Directed by: Anna D. Shapiro

Costume Design: Linda Roethke

Lighting Design: Marcus Doshi

Sound design: Richard Woodbury

Projection Design: Sven Ortel

Steppenwolf Theatre Company, Galway International Arts Festival, Ireland

“Set in summer 1980, Todd Rosenthal's timeless set is less Beverly Hills and more The Valley, evoking a liminal living space between rich and poor, the urban and the desert. The latter compressed into a corner view, the substance of myth and memory, a haven for potted plants and the distant calls of coyotes.” Chris O’Rourke, The Arts Review

Director: Randall Arney

Costumes: Trevor Bowen

Lights: Ann G. Wrightson

Sound: Richard Woodbury

Photos by Michael Brosliow

The Alliance Theatre

Suzi Bass Award Nomination

Director: Susan Booth

Costumes: Linda Roethke

Lights: Ken Yunker

Sound: Clay Benning

Milwaukee Repertory Theatre/ Resident Ensemble Players, University of Delaware

Director: Ben Barnes

Costumes: Rachel Healy

Lights: Matthew Richards

Sound: Michael Bodeen and Rob Milburn

Steppenwolf Theatre Company

“Shapiro’s masterful set designer, Todd Rosenthal (in league with lighting designer Donald Holder), has devised a vast, free-flowing, horizonal space into which the characters often seem to drift as if unmoored. Only a forest of tall white birch trees (a beautifully framed scrim that adds just the right touch of distance) stands resolute." Chicago Sun Times

Director: Anna Shapiro

Costumes: Jess Goldstein

Lights: Don Holder

Sound: Michael Bodeen and Rob Milburn

Steppenwolf Theatre Company

“Henry Wishcamper's production plays out on a beautiful setting by Todd Rosenthal, an expansive design blending nature and the unnatural, heaven and hell and carefully capturing one crucial theme of the play: that, as the book of John observes, "in my father's house are many mansions." Chicago Tribune

Director: Henry Wiscamper

Costumes: Rachel Healy

Lights: Keith Parham

Sound: Richard Woodbury

Photos by Michael Brosilow

Alliance Theatre/ Pasadena Playhouse

LA Stage Alliance Ovation Award for Best Set Design

“Todd Rosenthal’s graceful multistory iron filigree set and ESosa’s vibrant costumes are gorgeous: They deliver a sense of scale, but not the show’s soul.” Los Angeles Times

Director: Debbie Allen

Costumes: Emilio Sosa

Lights: Rick Belzer

Sound: Clay Benning

Goodman Theater

Joseph Jefferson Award Nomination for Best Set Design

Director: Jessica Thebus

Costumes: Linda Roethke

Lights: James Ingalls

Sound: Andre Pleuss

LaJolla Playhouse

Craig Noel Award Nomination for Best Set Design

“The first half of the play is set in a Chinese restaurant, which is conjured with kitschy authenticity by scenic designer Todd Rosenthal, who does an equally bang-up job with the second act office setup.” Los Angeles Times

Director: Christopher Ashley

Costumes: Toni Leslie James

Lights: David Lander

Sound: David Corsello

Steppenwolf Theatre, Arena Stage, The Booth Theatre, Broadway

Joseph Jefferson Award Nomination for Best Set Design

Tony Award for Best Revival

“Todd Rosenthal’s set has so many sloppily placed books that they seem to be coming from the crevices. It’s an interesting visualization of the interpretation here. This is George’s house just as much, and perhaps even more, than it is Martha’s.” Variety

Director: Pam Mackinnon

Costumes: Nan Cibula-Jenkins

Lights: Allen Lee Hughes

Sound: Rob Milburn/ Michael Bodeen

Photos by Michael Brosilow

Goodman Theatre

2001-Present

Directors: Henry Godinez, William Brown, Steve Scott, Henry Wishcamper and Jessica Thebus

Costumes: Heidi Sue McMath

Lights: Keith Parham

Sound: Richard Woodbury

Photos by Liz Lauren

Notre Dame Summer Shakespeare

Director: William Brown

Costumes: Rick Donnelly

Lights: Kevin Dreyer

Sound: Ray Nardelli

Milwaukee Repertory Theatre

Director: Ben Barnes

Costumes: Rachel Healy

Lights: Kevin LaMotte

Heather Gabrielle Rogers makes some of the world’s most beautiful ships in bottles. Here are two that she built for me. The first is The Charles W. Morgan (still afloat at Mystic Seaport) on a whaling expedition. The Morgan is displayed with her foresails set aback. This slowed the ship's speed and allowed the crew to launch the whaleboats to hunt sperm whales. The second is Sir Ernest Shackleton’s Endurance trapped in Antarctic ice. I thought I was a good model builder until I saw her work. Her website: https://www.shipinbottles.com,