|
by Christoph Willibald Gluck
The Metropolitan Opera Director Mark Morris Sets by Allen Moyer Costumes by Isaac Mizrahi Lighting by James F. Ingalls
|
"The action unfolds in front of simple, severe, handsome sets by Allen Moyer: steeply raked amphitheatre seating for the chorus of the dead; an enormous fire-escape -style metal staircase for Orpheus' decent into the underworld;...."read more Alex Ross The New Yorker
"Moyer's operating-theater set is actually a fluid construct placed on a turntable, which morphs handily into Hades, Elysium and the Temple of Love. It is well served by James F. Ingalls' lighting scheme, moving appropriately from Stygian darkness to sharp, sun-washed brilliance." read more Eric Myers Variety
"Carried out amid the sets by Allen Moyer for Orfeo ed Euridice, described by the Met general manager Peter Gelb as very beautiful contemporary design -- a work of art in itself,..." read more Compiled by Lawrence Van Gelder The New York Times |
|
Book by Doug Wright; music by Scott Frankel lyrics by Michael Korie
Broadway/ Walter Kerr Theatre Directed by Michael Greif Sets by Allen Moyer Costumes by William Ivey Long Lighting by Peter Kaczorowski |
"The scaling up of Allen Moyer’s set, which portrays the Beale homestead in its days of both glory and decrepitude, dilutes the claustrophobic prurience of the Off Broadway production. (Peter Kaczorowski’s lighting and Wendall K. Harrington’s projection design also assume greater impact in conjuring interior landscapes.) Let loose on the wide-open spaces of a Broadway stage, Little Edie and her mother have a chance to grow to near heroic proportions. Paradoxically, they also feel more accessibly human."read more Ben Brantley The New York Times
"The staging is now, as it was at Playwrights Horizon, stunning. That goes for sets, costumes, lighting and orchestrations. " read more Elyse Sommer Curtain Up
"There's also a much enjoyment in the clever and accurate sets by Allen Moyer..." read more Polly Wittenberg The New York Theatre Guide
"Allen Moyer's scenic design is absolutely gorgeous. The outside of GG is wood shingles that look weathered and frayed. But through the screen door and windows (if you're sitting close enough) you can see inside the house. Much of the set is on electronic runways and the center has a turntable. Thus the scenery glides in and out, fly in and out, or turns around completely. This gives the scene changes a kaleidoscope effect." read more John Garcia Pegasus News
|
|
Reginald Rose
Broadway/ American Airlines Theatre The Roundabout Theater Company Directed by Scott Ellis Sets by Allen Moyer Costumes by Michael Krass Lighting by Paul Palazzo
|
"On Allen Moyer’s letter-perfect jury-room set, which makes cunning lateral shifts to reveal the goings-on in the washroom, Scott Ellis, a director I have sometimes found uneven, delivers a stunning piece of staging." read more John Simon New York Magazine
"....there's the dead on authenticity of Allen Moyer's pre-air conditioning jury room which includes a much used water fountain and a sliding platform for occasional bathroom interchanges." read more Elyse Sommer, Curtain Up Review
"Paul Palazzo's lights; and Allen Moyer's cramped, institutional set all help beautifully establish the stifling heat of the jury room on a late summer day, making the tension between the men resonate even more strongly." read more Matthew Murray Talkin' Broadway
|
The Constant Wife by Somerset Maugham
Broadway/ American Airlines Theatre The Roundabout Theater Company Directed by Mark Brokaw Sets by Allen Moyer
|
"..she [Kate Burton] darts around a room that could have been decorated by Colefax & Fowler..." read more David Finkle Theater Mania.com
"Director Mark Brokaw's beautifully cast production, performed on a gorgeous set designed by Allen Moyer, perfectly captures the play's droll wit" read more Frank Scheck, Hollywood Reporter
"Allen Moyer's stylish set conjures up the sophistication of London in the '20's, as do Michael Krass' costumes." read more Howard Kissel, New York Daily News
"Allen Moyer's decor beguiles the eye with lacquered furniture and exotic wallpaper."read more (archived reviews may require a subscription payment) Michael Sommers, The Star-Ledger
"For all the excellent performances, perhaps the real stars of this revival are the designers. Allen Moyer's scrumptious set with it's sprightly floral wall paper and green lacquered furniture is as clever as it is stunning --" read more Elyse Sommer, Curtain Up Review
"..the character's cultivated taste...as exhibited in a modish mix of stately chintz and busy Asian chic in designer Allen Moyer's Harley Street living room." read more David Rooney, Variety
"...Allen Moyer's ornately elegant set, awash in Chinoiserie...." read more Charles Isherwood, The New York Times
|
La Boheme by Giacomo Puccini
Sets by Allen Moyer
|
"...Allen Moyer's set designs are grimly effective, especially for Act III: the tavern where Marcello and Musetta have been working is tucked in the ground floor of a bleak concrete building next to a railroad station where a huge steaming engine is idling......." read more Anthony Tommasini, The New York Times
"New York City Opera’s current production of La bohème includes an expressionistic stage within a stage, angular and foreboding of the dissonance of life, sung in the finest melodies by Puccini. This stage looks like the bohemian venue it would have been in Paris’ famed Latin Quarter in the early days of World War I. We were also treated to a real snowstorm, lifelike train station, and a robust, warm, and elegant nightclub (Café Momus), with giant yellow-lit lettering, a contrast to the stark, drafty, dingy artist loft in which the characters live." read more Dr. Roberta E. Zlokower , "Roberta on the Arts"
|
In Times Like These Yes, Theater Is Important
|
"When my play "This Is Our Youth" was put on for the first time in 1996, the set designer, Allen Moyer, who also did the props, was responsible for providing the $15,000 cash that one of the characters has stolen. There was no budget to speak of, so Allen made fake money by Xeroxing imitation $20 bills on sheets of greenish-yellow paper, and whenever he wasn't busy with something else, he sat on the steps in the theater in the dark, personally cutting out each bill with a pair of scissors until he had enough stacks of them to pass for $15,000. I'll never forget that, because it showed the difference between somebody who cares about his work and somebody who doesn't; and just caring about something that much, even if it's the authentic look of fake stage money in a play scheduled to run for three weeks, seems very important." read more Kenneth Lonergan The New York Times
|