Selected Reviews For Parris Bradley- Set Designs 

 

Eleanor- Act Two Playhouse

"The set design by Parris Bradley is simply fabulous."- Claudia Perry, Times Square Chronicles

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" A superb set by Parris Bradley." - SaraKay Smullens, Broad Street Review

"The stage set is dynamic." - Hugh Hunter, Chestnut Hill Local

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Souvenir- Act Two Playhouse

"Parris Bradley's scenic work turns Act 2's smallish stage into a spacious Manhattan salon/rehearsal space initially and then suggests the famous bright background of Carnegie stage."- Gene Terruso, Philadelphia Inquirer

 

 

The Book Club Play- Villanova University

"Bradley evokes the unblinking eye of the camera lens with his revolving turntable set that allows the audience to feel like they're part of the action no matter where they're seated."-  Broadway World

 

 

"The stage,..., even rotates... throughout the show to capture movements in time and to allow each audience member to evoke the eye of a documentarian."-  Margaret Joel, Villanovan

 

 

Much Ado About Nothing- Villanova University

"From the moment one sees Parris Bradley's bucolic and garden-like set, the audience member knows that he or she are in for a wonderful ride"- Philly Life & Culture

 

 

"The pathways, the raised area and the back wall are all painted sky blue with puffy white clouds.  The overall effect is that we are floating, suspended in time as the story unfolds before us"- Ellen Wilson Dilks, Delcoculturevultures.com 

 

Marisol- Villanova University

“Outstanding staging of swiftly shifting supernatural reality is supported by a terrific crew and technical team, and the ensemble, all of whom work together in tandem to ensure smooth scene changes, lighting and sound, all of which contribute much to the magic created. The set (Parris Bradley) utilizes a sliding back wall, scaffolding and benches which are repositioned to suit each scene, a cool ghost light, and boxes that drop snow/angel dust from above, which looks amazing under special lighting (Jerold R. Forsyth). “- Lisa Panzer, Phindie Independent Coverage of Philadelphia Theatre and Arts

 

 

“Villanova's nuanced production boasts Parris Bradley's sprawling set with audience on three sides, which not only suggests New York City's ruin but, along with Jerold R. Forsyth's bold lighting, the supernatural struggles playing out above.” -  Mark Cofta, Broad Street Review

 

 

Persistent Memory- Beckett Theatre (Off-Broadway), NYC

“Before the start of the show, the stage image was simply amazing. The set from Parris Bradley with lighting designer Greg Solomon highlighting what evoked an elephant graveyard was stunning to look at. And then once the show began and more lights appeared, the bracing of the bones were revealed and the pretty illusion went away. But the proscenium cutout was pretty darn beautiful. Regardless, how Bradley and Solomon worked off of one another was breathtaking. This was a collaboration that was greatly rewarded.” -  Michael Block, Theatre in the Now

 

Eurydice- Villanova University

“Ruhl’s creative take of mythology is matched by the creativity of the design team.  Set Designer Parris Bradley playfully offers planks for the actors to scamper across and wires for them to dodge, set against a harsh industrial background.”- Tim Dunleavy, DC Metro Theatre Arts

 

“For instance, in a place where the dead are supposed to fade into spatial oblivion, Eurydice remains corporeal and marks off a comer of Hades to be her room. She doesn't actually mark it. Her father, also animate and with human senses and emotions though dead, creates the room for her by an ingenious use of ropes set designer Parris Bradley employs in director James Ijames's comic yet movingly evocative production of Sarah Ruhl's play.” – NealsPaper

 

 

“Much credit for this goes to director Ijames; he paces the production well and clearly allowed his actors room to explore. Credit must also be given to scenic designer Parris Bradley. Ruhl leaves the set description deliberately vague in her script -she wants designers to be as inventive as possible. Bradley has done just that, turning the Vasey stage into an industrial­ looking playground with lots of "jungle gym" elements. And Ijames takes full advantage, moving the actors fluidly around the space to represent the various locales.” -Delco News Network

 

Pressing Matters- Clurman Theatre (Off-Broadway), NYC

“A dream team of thespians on stage, this is all wrapped together with a nice little bow by the excellent designers that carefully built the settings. A two hour evening curated for our delight, it gives us more than we bargained for, and we should be all the more happy for it.”- Nelson Diaz-Marcano, Manhattan with a Twist

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I Oughta be in Pictures- Act 2 Playhouse

“It’s 1980. Herb (Tony Braithwaite) is a 40-something failing screenwriter living in Hollywood. He is witty and sardonic, with a crappy house (appropriately shabby set by Parris Bradley).” – Erin McCourt, Philly.com

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Tom Foolery- Act 2 Playhouse

“The set, designed by Parris Bradley, is fitting for this show with large letters that spell out ‘Tomfoolery.’”- Kelli Curtin, Broadway World.com

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Fallen Angels- Villanova University

 

"Parris Bradley's drawing room set is absolutely lovely, mixing the traditional architecture of London flats in that era with the touches of Art Deco the Sterroll's would have added.” Ellen Wilson Dilks, Stage Magazine

Parris Bradley’s scenic work turns Act II’s smallish stage into a spacious Manhattan salon/rehearsal space initially and then suggests the famous bright background of the Carnegie stage.