LUNA GALE - Actors Theatre of Louisville
Andrew Boyce’s set design and Matt Frey’s lighting help illustrate the fluent realities the characters deal with by having set pieces that rise from the stage floor and lower from the ceiling to conjure Caroline’s office and Cindy’s kitchen, among other sites. But always behind them is an austere wall resembling white porcelain brick creating a hallmark of institutional design. The brick wall denotes not only the hospital waiting room but various parts of the county courthouse and the visitation room at the department of human services. That room features a two-way mirror where from one side social worker and other officials can observe clients on the other. Over the course of the second act, that wall slides forward toward the audience to push this too often-ignored world figuratively into our laps. This and so many other facets of this production create an experience that resonates emotionally and challenges audience members to face and grapple with these issue in their own communities.
OTHELLO - American Players Theatre
Andrew Boyce’s scenic design and Matthew J. Le Febvre’s striking costume design a very intimate and evocative “Tragedy of the Moor of Venice.”
Andrew Boyce’s economical and effective scenic design presents a slightly raised central platform, surrounded by a moat of water. The resulting enclave recalls the play’s islanded worlds of Venice and Cyprus; the insular world inhabited by soldiers; and the constrictions afflicting Desdemona and Othello’s severely circumscribed private life. Off-kilter poles suggest that each of these “islands” rests on a shaky and shifting foundation.
PITBULLS - Rattlestick Playwrights Theatre (NYC)
But it has many of the requisite accouterments that make trailer-trash melodrama such guilty fun, including a set by Andrew Boyce that features a corroded washing machine sitting in the woods and a central performance of heroic blowsiness by Ms. Ganier.
Andrew Boyce has created a huge set, complete with what resembles an actual trailer taking up half of the tiny Rattlestick stage. It’s a truly lived-in environment he has designed, complete with a washing machine humorously placed in the backyard.
Andrew Boyce’s set is a beautifully detailed diorama of weather-beaten backwoods life, set against lush forest green.
THE ROOMMATE - Actors Theatre of Louisville
Andrew Boyce’s simple platform set and kitchen accoutrements let the actors do the great work they do here, including making as grand a mess of it as they do their lives by the final blackout.
Andrew Boyce’s detailed set looks exactly like the kind of kitchen Sharon would have. The show is, in short, technically perfect.
LITTLE CHILDREN - Roundabout Theatre Company (NYC)
an open space, abstractly designed by Andrew Boyce for its many transformations
Andrew Boyce’s set places a minimal number of furnishings in front of an agreeably garish street mural; it is transformed time and again by the carefully wrought palette of Gina Scherr’s lighting. Boyce and Scherr also collaborate beautifully on two scenes that vividly depict Sula floating in the ocean at night. Jennifer Caprio’s costumes are well suited to each character. M. L. Dogg’s sound design blends a number of effects, including ocean waves, vodou drums, and squabbling children, which add a great deal to the overall atmosphere
VERITE - Lincoln Center Theatre LCT3 (NYC)
Set designer Andrew Boyce, working with limited means, cleverly suggests a variety of locations with the versatile use of blinds.
The impressive set, created by Andrew Boyce, is central to the show’s success. The audience follows the characters from the Darum family apartment — complete with an old stereo, working voicemail machine and stocked refrigerator -— to the office of Sven and Andreas, where blinds and office chairs transform the stage into a realistic office space. When Sven opens the fridge, its contents have been changed from those in the typical household to nothing but water bottles. Boyce realizes every small detail and no ambiguities are left to the imagination.
I WILL BE GONE - Actors Theatre of Louisville
The production team has envisioned an ambitious and beautiful show, with a breathtaking set (by Andrew Boyce)
But Andrew Boyce’s imaginative and curious set enhances that dreamlike quality with its doors and windows built into the floor. In some scenes, bright images flash in a central window and in others characters use the doors to access other rooms. The set also includes a huge diorama of Bodie that resembles those visitors often find at historical sites. The diorama descends from the ceiling and when it is elevated exposes a screened imaged of the sky lit from behind.
EXIT STRATEGY - Primary Stages (NYC)
Most of the rest of the play takes place in the teachers’ lounge, which does indeed attest to the moldering facilities. The minimal furnishings are, shall we say, vintage, and you wouldn’t want to go near the water cooler. (Andrew Boyce’s sets are grimly atmospheric.)
The director (Kip Fagan) has done a memorable job of moving the pace along at a rapid clip without losing’s anyone’s point of view, or any of the questions that the play rises. He is more than ably assisted by the technical crew; set designer (Andrew Boyce), lighting designer (Thom Weaver) and sound designer (Daniel Perelstein), whose environments - complete with flickering and sizzling fluorescent lights - almost made me smell the chalk, old cabbage, disinfectant, and burnt coffee smell of my public high school.
THE CONSULTANT - LongWharf Theater (NYC)
Andrew Boyce’s set design is superb, with a conference room that is illuminated and darkened perfectly by Matt Frey. They portray in perfect synchronization the glossy surface of a high-octane company and the sterility inside with its ominous secrets and mysterious emptiness.
BURIED CHILD - The Magic Theater (San Fransisco)
And the characters that inhabit this Illinois farmhouse are as deliciously recognizable and grotesque as Andrew Boyce’s deceptively realistic, off-kilter living room set.
BUYER & CELLAR - Rattlestick, BarrowStreet Theater (NYC)
“Set designer Andrew Boyce’s “putty linen” room with chair rail is appropriately immaculate, very Streisand, and nicely captures Eric Southern’s back washes of colored light and Alex Koch’s stylized projections.
Staged on a spare white-on-white set that makes economical use of projections and lighting effects to switch locations, the play benefits from Stephen Brackett’s crisp direction.
TWELFTH NIGHT - Westport County Playhouse
Andrew Boyce’s set is a playful work of art, with a brown-sand beach dotted with a gramophone, a fallen crystal chandelier and a tower of white, red, orange and pink balloons on one side and a formal setting with wallpaper and hanging chandeliers on the other, linked by a moody seascape backdrop
BIKE AMERICA - Ma Yi Theater Company, Alliance Theater
RED HANDED OTTER - Playwrights Realm, Cherry Lane Theater (NYC)
CLARKSTON - Dallas Theater Center
EXIT STRATEGY - Philadelphia Theater Company
Andrew Boyce’s versatile set is one big open road with scenic backdrops that fly in and out with ease, indicating the progression of the journey.
The creative team, led by set designer Andrew Boyce and director Moritz von Stuelpnagel, does a fantastic job of bringing some challenging effects to life.
The production’s set and lighting design elements are also handsome, effectively communicating through suggestive gestures the country’s rich landscapes and color palettes.
expertly realized by the set designer, Andrew Boyce”
Paul, like his co-workers Donald, Randy, Estelle, and Angela, is a security guard at an office complex. It’s a job of almost excruciating dullness; they spend most of their days staring into a wall of computer monitors on which absolutely nothing happens. (The physical details of this stultifying environment are reproduced with striking fidelity in every particular: the set—by Andrew Boyce—is rich with detail, from dirty paint to its twenty-seven semifunctional monitor screens to the outdated computers that power the system; the guard uniforms are perfectly, drably neutral; flattening fluorescents creep in to the lighting design. Even the images on the security monitors seem to have been designed for boring neutrality.
The beauty of CLARKSTON is that it isn’t fantastical or whimsical. It is real in ways that can be hard to capture on the stage. It captures the mundane drama of life and how those around us are going through things we might never suspect or understand, how we are all explorers of our own futures, much like Lewis and Clark’s exploration of the American West.
In the Studio Theatre at the Wyly Theatre, McCallum maintains the intimacy of the interpersonal connections, an interesting juxtaposition against the cavernous space of a Costco, effectively rendered by scenic designer Andrew Boyce.
Scenic Designer Andrew Boyce creates an environment so detailed you can almost smell the burnt coffee, complete with stained walls and broken chairs, highlighted by Thom Weaver’s appropriately dreary lighting design.
The Philadelphia Theatre Company’s smart, lean production features Andrew Boyce’s realistic teacher’s lounge with its pale pink and puke green cinderblock walls and worn, mismatched furniture, lit with appropriately harsh fluorescents by Thom Weaver.
CIRCLE MIRROR TRANSFORMATION - Marin Theater Company
From the minute Marin Theatre Company’s production of New York playwright Annie Baker’s “Circle Mirror Transformation” opens — with the five performers lying silently on the floor in what is clearly, right down to the last perfect detail, a community center multipurpose room (set by Andrew Boyce), you know this play is going to take its own sweet time to get where it’s going
… oversees a perfect design package, from the anonymous, bare-walled institutional room of Andrew Boyce’s low-ceilinged box set…
Andrew Boyce’s set is the first indication of just how real this is all going to be. He has created a slice-of-life community center rec room (in Shirley, naturally) down to the last water stain in the ceiling tile. You can even see the faint, dirty outline where something used to hang on the wall but has since been removed. Even the fluorescent lighting (skillfully designed by Gabe Maxson) feels exactly right.
MENS LIVES - Bay Street Theatre (NYC)
All the design elements are well done. Andrew Boyce’s sand-strewn set is evocative of the dunes that, these days, are home to only a few baymen, still struggling against state laws, and more mansion owners, vacationers and day-trippers than there were 20 years ago
INTIMATE APPAREL - Dorset Theater Festival (Vermont)
Andrew Boyce’s gorgeous set managed the nearly impossible, becoming six different bedrooms without a set change.
Michael Giaietti’s lighting and Andrew Boyce’s set serve the play’s arresting blend of artifice and realism. The space is replete with tangible objects, from a functioning sewing machine to a brass bed, yet one room can change into another in subtle transitions.
NOW CIRCA THEN - Theaterworks, CA
Andrew Boyce’s set is nicely architected, showing several views within the museum. Locations include the outside of the Glockners’ apartment at the top of the play, the parlor where the bulk of their time is spent, the kitchen, and finally the bedroom. In addition to larger furniture items, many pertinent artifacts such as the aforementioned antique clock and a period sewing machine adorn the set. The walls and furniture pieces are moved smoothly between scenes, the former by the unseen stage crew, and the latter by Harrington and Corwin as they enter or exit the set.
McDonough and set designer Andrew Boyce keep the action flowing seamlessly between several rooms of the tenement museum
Andrew Boyce’s set is first class, especially as the different rooms in the museum change to reflect how Margie and Gideon are carrying on their initial romance.
“In fact, the set threatens to become the most memorable element of the evening simply because it’s so graceful and picture-perfect. When depicting three rooms in a museum very much like the Tenement Museum on New York’s Lower East Side, Boyce could easily have just slid a living room, kitchen and bedroom set on and off the stage, but his rooms blend into one another in surprising ways, and watching the set morph from one room in a late-19th-century immigrant apartment to another is absolutely captivating.
THE REALISTIC JONESES - American Conservatory Theater (San Fransisco)
Loretta Greco directs with the lightest, most sensitive touch, placing all the scenes in two grassy backyards (on Andrew Boyce’s set, with starry sky and luminous trees, and sound designer David Van Tiegham’s spooky hooting owls), situating the characters within the context of an all-enveloping, impervious natural world.
Andrew Boyce’s set for the American Conservatory Theater’s (ACT) production of Will Eno’s THE REALISTIC JONESES will make you yearn for suburbia - the quiet of the nights, the way a backyard can seem to be a forest in the dark. It conveys an appreciation for living in the moment that captures the best aspects of Eno’s play and work.
ANOTHER WORD FOR BEAUTY - The Goodman Theater (Chicago)
...And Boyce’s impressive, oppressive prison set transforms into a glitzy stage adorned with lights, banners and streamers. So complete is the transformation, you almost forget it’s a prison.
ANOTHER WORD FOR BEAUTY is impressive in a number of ways including the acting, the songs (in Spanish with super titles), and Andrew Boyce’s evocative concrete-walled, laundry-festooned set.
THIS GOLDEN STATE - Magic Theater (San Fransisco)
Beautifully designed (set by Andrew Boyce), performed and directed, “Delano” bodes well for those future installments.
DREAMS OF FLYING, DREAMS OF FALLING - Atlantic Theatre Co. (NYC)
Andrew Boyce and Takeshi Kata’s elegant set is realistic enough: the well-appointed Connecticut dining room of Dr. Bertram and Sandra Cabot…
When I first got a glimpse of Andrew Boyce and Takeshi Kata’s elegant set, with its glistening chandelier, my heart lifted: something new
PRIVATE LIVES - American Players Theater (Wisconsin)
The set, designed by Andrew Boyce, folds outward, transforming an expansive balcony into Amanda’s Paris flat, made to look smaller than it is with crowded red poppy wallpaper.
On one half of Andrew Boyce’s symmetrical set - in which every sculpted bush and stick of furniture appearing on one side is identically mirrored on the other - an impulsive Amanda (Deborah Staples) begins her second marriage with the stolid Victor (John Taylor Phillips).
AS YOU LIKE IT - American Players Theatre (Wisconsin)
Andrew Boyce’s highly detailed, yet impressionistic set provide an excellent visual context for a cadre of generally outstanding performances
Designer Andrew Boyce’s setting for all of this reinforces the melancholy tone — foggy trees in shades of grey, sprawling across a skewed garage
SENSE AND SENSIBILITY - Dallas Theater Center (Dallas)
Andrew Boyce’s spare, revolving set, with elegant chandeliers overhead, lends a sweeping feeling of space and time. The floor turns as days, weeks, and months turn like a reflection of the sisters’ shifting fortunes, hopes, and dreams.