Dec 23, 2013

Exit Pursued by a Bear

The action takes place in the living room of a home dominated by mounted animal heads on one wall and a display of weapons on the other. At center stage is the homeowner, Kyle (Tim Hoover), who sits duct-taped to a chair, including a piece covering his mouth. The play opens with Kyle waking up and realizing his predicament........When his wife, Nan (Mary-Liz Murray), enters, she explains that after years of abuse, she’s decided to have her revenge, but has planned a slow and theatrical end for him........Luke J. Sutherland’s set design of imposing walls creates a sense of a confined space Nan is eager to escape....

Terry Bryne, Boston Globe.

When the audience enters, Kyle (Hoover) is already knocked out and strapped into his chair in the middle of the room. Seating is on opposite sides of the center performance space, and Scenic Designer Luke J. Sutherland creates the feel of a small house in the North Georgia mountains with paneled walls at either end featuring a mélange of animal trophies and rifles, pistols, and hunting knives.

Nancy /Grossman, Broadway World. com

May 20, 2013

Almost Blue

A small band of misfits, thrown together in one man’s shabby rooming-house abode, makes desperate swipes at connection in “Almost Blue,” an absorbing thriller now playing in a Theatre on Fire production at the Charlestown Working Theater......At the center of the action is Phil (James Bocock), an ex-con guilty of an unspeakable crime, who says he doesn’t belong outside prison. With his hangdog face and burly physique, Bocock epitomizes the gentle giant, imbuing Phil with sympathy amid the pathos. Inside his seedy room, realized in spare but striking detail by designer Luke J. Sutherland, Phil stumbles from one gin-fueled hangover to another, unable to get past his crippling sense of guilt and regret.

Terry Byrne - Boston Globe

The sets, lights, and costumes create a crappy room in a rooming house that you really don’t want to stay in very long. (For the purpose of this play, that’s a good thing.) The gritty set by Luke Sutherland uses the space of the Charlestown Working Theatre brilliantly, incorporating a brick column into the set, in addition to making the room seem so gross. Sometimes gross is good, in the case of Theatre on Fire’s “Almost Blue,” very good indeed.

Robin Allen LaPlante - 90.9 WBUR The Artery

Almost Blue is billed as "a modern noir thriller set in a seedy rooming house." In my experience, it is more challenging to create the noir ambiance on stage than in a film, but the Theatre on Fire team of designers does a pretty good job of fulfilling the task in the intimate confines of the Charlestown Working Theater. Scenic Designer Luke J. Sutherland's vision of seedy includes peeling wallpaper, a grimy skylight window, and pieces of severely-used furniture.

Nance Grossman - Broadway

Nov 25, 2012

A Behanding in Spokane

Now, Carmichael has landed in a seedy hotel room, designed by Luke J. Sutherland, that features a low-slung bed above which hangs a large wheel. A mysterious brown suitcase is on the other side of the room, and a not-mysterious-at-all gun is tucked into Carmichael’s waistband. 

            Don Aucoin,  Boston Globe


Kudos also goes to scenic designer Luke J. Sutherland for creating the perfect adobe feel of an Arizona hotel gone to seed. His yellowing wagon-wheel esthetics grounds the play in a faded earthiness.

            Craig Idlebrook, the New England Theatre Geek

Scenic Designer Luke J. sutherland imbues the nondescript room with an aura of existential angst befitting its inhabitants. A single bed, a club chair, and a small nightstand with a lamp and a phone are the room's only furnishings, and decorations are limited to a dull painting and a beat up wagon wheel on the walls.

          Nancy Grossman,

Nov 21, 2012

Black Adder II LIVE review

The set itself is simple and the stage has 5 different areas that the characters interact on. Whether we are looking straight ahead on 3 areas on stage or the house left or right, we are thrust into this world in such an intimate space. Luke Sutherland’s set captures each area perfectly and thanks to the effective lighting design of Eric Jacobsen, we are able to see each area for each scene. Whether we are in house of Blackadder or the Queen’s throne room, we get to see a simple and effective set create this world. One set that was particularly impressive was in one “episode” where Blackadder, his friend Percy, servant Baldrick and Captain Redbeard Rum are upon a ship, due to Blackadder’s attempt to travel the unknown (thanks to a large part to his pride and short-sightedness). The four in are sitting a small cabin that wonderfully creates a sense of claustrophobia, which was in a small open room above the entrance of the theatre space.

        Christen "The Card" Hegg -

Eric Jacobsen’s lighting follows the action all around the performance space, and Luke J. Sutherland’s set design is economical and handsome. 

        Kilian Melloy, edge Boston, MA