Romeo and Juliet - Empirical Rogue 2


Check out this great feature about the show I am designing. Its going to be great! A cast of four actors, one abandoned garage, one amazing script, one visionary director, all in Long Island City... This ain’t your mama’s Romeo and Juliet! Come check it out!

Classical Inspiration: Shakespeare Breathes Life Into Dead Building” -Boro magazine. com


Romeo and Juliet - Empirical Rogue 3


“The wardrobe (Summer Lee Jack) is a hybrid of contemporary wear and historical costume notes, lithely at play with a notion of dress-up and realism.” - Geoffrey Paddy Johnson

Click here for the full review: THE HAPPIEST MEDIUM

“The actors certainly are powerful as they perform a dervish act of clever exits and re-entrances as new characters... While it is clear that the performers have roles they are most at home in, watching the feat of them tackle all the characters is exciting. The role changes are denoted by quick costume adjustments with a modern costume design by Summer Lee Jack... Part of the excitement was watching lighting and costume changes being made on stage, or watching an exit, hearing the scuffling of a quick costume change behind the audience and anticipating who would emerge next, and from where. If the frenetic nature of constant change caused a few rough spots on the technical side and in the performances, it was a roughness that seemed to fit the space” - Rachel Wohlander

Click here for the full review: ROMEO & JULIET -- PERFORMED BY FOUR ACTORS

Reviewed for by: Rachel Wohlander

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The Storm


As the piece unfolded, other elements began to stand out, such as a paint effect that made the whole set look either as though it were cloth soaking up blood or as though there were flames engulfing the structure; both of which are aptly prophetic. This effect was cleverly echoed in Summer Lee Jack’s costume design, specifically in the costume for Feklusha-a drag water nymph-whose flowing gown also looked like it was soaking in blood.” - Jessica Doherty, New York Theatre Review

Click Here to Read the full article on The New York Theatre Review,

“The metatheatrics are deliberately jarring to keep us engaged while the play quietly roils to a full assault on our emotions/hearts. There is dissonance -- for example, between the quasi-period costumes mostly in burgundy, black and white by Summer Lee Jack and a modern, masculine hair cut for Katrina’s mother-in-law.” - Glenda Frank, New York Theatre Wire .com

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