"Bell sets his version in a warehouse owned by Marley and Scrooge, where the confiscated remains of homes shuttered by foreclosure have reaped grim profits for the two accountants. In Robert Mark Morgan’s imposing scenic design the stage at The Rep is filled to the rafters with a jaw-dropping potpourri of the ‘favorite things’ of the unfortunate and displaced, whose belongings hover above the set on a second tier that also allows access for Marley’s ghost."
- Mark Bretz for Ladue News about Christmas Carol at Repertory Theatre of St. Louis
"Robert Mark Morgan’s set design weaves hints of Indiana into every inch of the stage. It’s a piece of art in its own right."
- Melissa Hall, Stage Write, Indy about Finding Home: Indiana at 200 at Indiana Repertory Theatre
"But what's delivered to the audience is mostly fun, romping around Robert Mark Morgan's detailed, folksy set, including emblems of Hoosier history in a floor collage."
- Jay Harvey Upstage about Finding Home: Indiana at 200 at Indiana Repertory Theatre
"Robert Mark Morgan's scenic design tells a story in itself, with Scrooge's counting house filled with the goods repossessed by loans gone unpaid."
Chris Gibson Broadway World about A Christmas Carol at Repertory Theatre of St. Louis
"Enough cannot be said about Robert Mark Morgan’s set design. This kind of achievement really is what makes up the stuff of theatrical dreams. The world he and his crew created for the actors to play in was exquisitely detailed and masterfully constructed."
- Jim Ryan for Playback STL about A Christmas Carol at the Repertory Theatre of St. Louis
"It all plays out on Robert Mark Morgan’s breathtakingly simple set, composed of grandstand-like levels encircled by a curving wall where photos are displayed. With a large circular shape hovering above, the scenic design provides the feel of the halls of government without ever getting too specific."
- Christine Howey for Clevescene and RaveandPan about All the Way at Cleveland Play House
"As I entered the Allen Theatre, CPH captured my full attention without delay. The set prompted me to begin questioning whether I was there for the production, or if I would actually be watching the highly anticipated Presidential debate between candidates Donald Trump and Hillary Clinton. Scenic designer, Robert Mark Morgan, who is no stranger to the CPH stage, executed a spellbinding set bound for political electricity; a calculated marriage between the President’s Oval Office, and the volatile debate platform of which we’re accustomed to seeing every election season."
- Logan Foster for Applaud Squad Reviews about All the Way at Cleveland Play House
"Extra special praise should be given to scenic designer Robert Mark Morgan’s set. Its understated, thoughtful design gave marvelous room for the story to be told. It consists of a series of multiple stepped levels, with two screens above acting as televisions or history lessons when needed, and multiple panels at the side and back with projected images that changed according to the setting."
- Laura Kennelly for Cool Cleveland about All the Way at Cleveland Play House
"To drive the point home, scenic designer Robert Mark Morgan has cooked up a massive clock face with human-sized Roman numerals that hovers above the Oval Office like a hostile alien saucer. Time, it seems, is LBJ's most resourceful enemy."
- Andrea Simakis for the Cleveland Plain Dealer about All the Way at Cleveland Play House
"It also employs spectacular projections to help establish a sense of time and place and to move along the storytelling. Where the Broadway production offered these images behind the actors, Dan Scully’s vivid projections appear on the surrounding curved walls of Robert Mark Morgan’s gorgeous Oval Office facsimile in this CPH production. The office doubles as all other locations, as well, courtesy of Michael Lincoln’s isolating lighting and director Sardelli’s clever staging."
- Bob Abelman for The Morning Journal about All the Way at Cleveland Play House.
"Together with a charmingly homely set by Robert Mark Morgan and Rob Denton’s warm lighting design, Fiddler’s technical setup is the welcome mat inviting watchers into this close-knit community."
- Katy Przybylski for St. Louis Magazine about Fiddler on the Roof at the Muny, St. Louis
"Of course, it’s still a big show (it’s still the Muny), but director Gary Griffin and scenic designer Robert Mark Morgan emphasize the intimacy of a story that centers on one little family in a very small village. It’s a fresh approach.  Music director Brad Haak and the orchestra perform the eloquent Jerry Bock/Sheldon Harnik songs on the stage instead of in the pit. This achieves two things: It reduces the actors’ playing area, and it swells the “population” of tiny Anatevka, the village where Tevye lives with his wife, Golde, and their daughters.  This design — absent Chagall-inspired embellishments — brings “Fiddler” down to a scale that suits Tevye."
- Judith Newmark for St. Louis Post-Dispatch on Fiddler on the Roof at the Muny, St. Louis
"Scenic designer Robert Mark Morgan's stunning blend of beautifully rendered vintage drawings with the majesty of Oz provide a dream-like quality while the modern videos on the new LED screen add another dimension.  The cyclone is a marvel of motion. Dorothy's bed is perched atop a gigantic cone while dancers whirl — and a cow twirls — to mimic the storm. When Munchkinland is revealed, it is a twinkly, sugar-dusted enclave of 3-D candy-colored cottages."
- Lynn Venhaus for Belleville News Democrat about Wizard of Oz at the Muny, St. Louis
"There are plenty of eye-popping moments along their journey. Choreographer Ralph Perkins and scenic designer Robert Mark Morgan create a fresh treatment of the twister, with Dorothy and Toto perched high on a funnel of wires and gray chiffon while dancers leaped around them, waving big tattered flags and cutouts of flying chairs and cows."
- Judith Newmark for St Louis Post-Dispatch on Wizard of Oz at the Muny, St. Louis
"Robert Mark Morgan's scenic design is exceptional…"
- Chris Gibson, about Wizard of Oz at the Muny, St. Louis
"Robert Morgan’s set design is spectacular in its simplicity, capably rendering Congress, and the Oval Office while supporting a complicated video projection system (Charles Miller, projection designer) for an infinite number of other locations."
- Bill Wheeler, Colorado Stages about All the Way at the Denver Center for the Performing Arts
"The set, reminiscent of the Ultimate Fighting Champion’s octagon, is a study in circles, an excellent design choice given LBJ’s frequent allusions to politics as combat. Scenic Designer Robert Mark Morgan, whose past work on DCTC productions like The Giver, Jesus Hates Me and Copenhagen impressed me, does so again with his use of sweeping lines, video screens and mechanized elements that appear and disappear with fluid regularity."
- Gary Zeidner, Boulder Weekly about All the Way at the Denver Center for the Performing Arts
"Director Matt Lenz keeps a colorful cartoon vibe at the forefront...Robert Mark Morgan, whose blue castle looks like something from a dream, exaggerate the fantastical elements just enough to remind us that this show isn’t supposed to be “real.”"
- Judith Newmark, St. Louis Post-Dispatch about Beauty and the Beast at the MUNY
"Everything popped — the jewel-like tones in Robert Mark Morgan’s beautifully detailed set, the golden glow by lighting designer Nathan Scheurer, and the handsome costumes designed by Robin McGee..."
- Lynn Venhaus, Belleville News Democrat about Beauty and the Beast at the MUNY
"Scenic designer Robert Mark Morgan created an intimate setting so the stage doesn’t seem to swallow up this smaller-than-usual story, and it works well."
- Lynn Venhaus, Belleville News Democrat about Buddy at the MUNY
"She's (Marcia Milgrom Dodge) is aided by ... Robert Mark Morgan's supremely cool scenic design, which puts the action inside an old bake-lite radio..."
- Chris Gibson, Broadway about Buddy at the MUNY
"Once again, they create a visually arresting show, from the sock-hop dance moves to the jellybean-bright costumes to Morgan’s set, which uses the LED screen at the back of the stage for eye-popping ’60s-style graphics."
- Judith Newmark, St Louis Post-Dispatch about Hairspray at the MUNY

"The colorful confection is enhanced by Robert Mark Morgan’s bright retro scenic design, creatively detailed, and boosted by the LED screen’s transformation into a vintage TV set, with video design by Matthew Young."
- Lynn Venhaus, Belleville News Democrat about Hairspray at the MUNY
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"One of my favorite elements in this production is the set. Designer Robert Mark Morgan uses library card catalogues to demonstrate the filing of generations of memories. Sheets of paper are strung from the ceiling and drawers sit open along the back wall. The three-sided set becomes a library of sorts, made of the endless memories the Giver has kept safe for so long."
- Melissa Hall, Berkshire Fine Arts about The Giver
"The moment you enter the Upperstage auditorium, your eyes will immediately be drawn to Robert Mark Morgan’s magnificent set which he describes in the play’s printed program as a “sculpture.” Representing the receptacles holding the community’s memories, it consists of file-drawers, resembling those that hold library card cataloges, stacked on top of each other on the rear of the stage and also painted on the floor. Suspended above the set, looking like strands of Tibetan paper prayer flags, are sheets of paper (representing memories) that emanate from the card catalogue."
- Tom Alvarez, Indianapolis Performing Arts Examiner about The Giver
"While these are a few of my favorite things, the star of this sugarplum of a Cleveland Play House production is the set by Robert Mark Morgan, built to approximate the nimbleness of film, the medium that first introduced America to little 9-year-old Ralphie Parker and his big Christmas wish..."
- Andrea Simakis, Cleveland Plain Dealer about A Christmas Story at Cleveland Play House
"The startling scenic design by Robert Mark Morgan is a marvel. Finally someone has found a creative use for the Muny's antiquated scenery booms. Here, the booms don't move the scenery; they are the scenery. These steel tenements include a bridge (that morphs into balconies), thus doubling the playing space."
- Dennis Brown, the Riverfront Times about West Side Story at the MUNY, St. Louis
"The action is complemented by Robert Mark Morgan’s meticulously detailed multi-level set, which vividly suggests New York City in the 1950s with its ubiquitous windows, fire escapes, neon and chain link fences." - Snoop's Theatre Thoughts about West Side Story at the MUNY, St. Louis
"The striking ironwork set by Robert Mark Morgan is as versatile as it is beautiful..."
- Stage Door St. Louis about West Side Story at the MUNY, St. Louis
"This production is breathtaking, enhanced by the lighting design of Rob Denton and the stunning set design by Robert Mark Morgan -- a gritty view of tenement windows, fire escapes and neighborhood grids in a jigsaw puzzle deftly moved for each scene's needs."
- Lynn Venhaus for the Belleville News-Democrat about West Side Story at the MUNY, St. Louis
"There’s also a truly majestic set designed by Robert Mark Morgan, which includes a massive painting that welcomes patrons to the time and place, as well as some mammoth pieces such as the barricade constructed of flotsam and jetsam that dominates the battle scenes."
- Mark Bretz of Ladue News about Les Miserables at the MUNY, St. Louis
"First, kudos must go to the person who sets the stage for an audience’s first impression. The artistry of scenic designer Robert Mark Morgan had me enthralled before the first actor even took the stage. Lovely painting work by the Festival’s scenic staff set the stage for an autumn interlude at an ancient manor."
- Rachelle Hughes for about Loves Labours Lost at the Utah Shakespeare Festival
"Robert Mark Morgan designed the persuasive apartment, a masterpiece of depth-perception tricks."
- Judith Newmark, St Louis Post-Dispatch about 4000 Miles at the Repertory Theatre of St. Louis
"Robert Mark Morgan's scenic design is superb, deftly conjuring up Vera's New York apartment, and making it seem genuinely authentic."
- Chris Gibson, St. Louis about 4000 Miles at the Repertory Theatre of St. Louis
"The staging of The Whipping Man immediately transports you to 1865 as parts of the southern United States, in this case Richmond, lie in ruins after a war that tore the nation in two. Robert Mark Morgan’s set is incredible, deep and technically perfect."
- Kory on the Radio about Whipping Man at Cleveland Play House
"Scenic designer Robert Mark Morgan and lighting designer Japhy Weideman allow the play’s bare bones to show by providing little more than dramatic ambiance and accent for this production. The intimate Second Stage theater remains a barren space — a hollowed-out Southern homestead void of art, artifact or history with only a stained and scarred wooden floor to support it. We see and hear the steady rain through a burned and bombed façade and the only light that illuminates the inhabitants seems to come from candles, the low-burning fireplace, and occasional strikes of lightning...This is a captivating play and a remarkable production of it."
- Bob Abelman for The News-Herals about Whipping Man at Cleveland Play House
"There was an industrial fluidity when it came to the set by designer Robert Mark Morgan. This set was quite striking and when they introduced color, it was absolutely mesmerizing."
- Michael Mulhern, Denver about The Giver at Denver Center Theatre Company
"The set, designed by Robert Mark Morgan, is an art deco dream of ornate woodwork and expensive, period, molded-glass sconces."
- Paula Atwell, about Fallen Angels at Asolo Repertory Theatre, Sarasota, FL
"First of all, there's the magnificent set: row upon row of liquor bottles, interspersed with small lamps and some other household items, on shelves that rise 20 feet high and cover the entire expanse of the Cleveland Play House stage. This inspired creation by scenic designer Robert Mark Morgan provides the perfect dreamscape and/or nightmare vision for Bill W. and Dr. Bob, the story of the two drunks who started Alcoholics Anonymous."
- Christine Howey, Cleveland Scene Magazine about Bill W & Dr. Bob at Cleveland Play House

Robert Mark Morgan's exceptional set turns Williams' French Quarter into an urban jungle of Spanish moss-like tendrils and wood slats, burning in the red glows of Joan Arhelger's moody lights and yielding tantalizing glimpses of Blanche luxuriating in the bathtub.”
- Robert Hurwitt, San Francisco Chronicle about A Streetcar Named Desire at Marin Theatre Company
“In many ways, the star of this production is the set by Robert Mark Morgan, a wonder of dangling Spanish moss and multileveled rooms and staircases, all backed by swinging strips of muslin through which changing colors—and the occasional vision of a bathing Blanche—can be glimpsed.”
- David Templeton, about A Streetcar Named Desire at Marin Theatre
"The set, designed by Robert Mark Morgan, a cathedral-style arch that bends over the stage toward the audience, gives the production the room and grandeur Barnes' big, clear story demands."
- Judith Newmark, St. Louis Post-Dispatch about Saint Joan
"I don't have enough adjectives to describes the set. The Rep always does its shows proud with first-class scenic designs, but Saint Joan sets a new bar.  The fleur de lis is the central image, and it appears everywhere - in a background row of churches, on the throne, on the arch thrust high over the stage and out into the orchestra seats, and even on the floor.  I can't imagine any of the production elements being done better."
Andrea Braun, KDHX-FM about Saint Joan
“Rucker stages it all at an easy, rural lope in Morgan's sharply suggested ranch house, with a windmill and full moon rising above the roof peak and Lydia Tanji's worn rural costumes suggesting a Depression-era time frame. In a clever touch, the kitchen and foyer units slide apart to make way for File's lonely office…”
- Robert Hurwitt, San Francisco Chronicle about The Rainmaker at A.C.T.
“Set designer Robert Mark Morgan has devised a brilliantly suggested ranch house with a windmill and a big full moon rising above the roof. The kitchen and foyer slide apart to make way for the Sheriff's office. Through Don Darnutzer's lighting and Jeff Mockus' sound the lighting, the rainstorm at the end is awesome.”
- Richard Connema, Talkin’ Broadway about The Rainmaker at A.C.T.
“What the production does have going for it is a slick, efficient set (by Robert Mark Morgan), effective costumes (by Lydia Tanji) and sharp lighting (by Don Darnutzer), all of which allow Rucker’s excellent cast to warm up the play to near-dramatic heights.”
- Chad Jones, Oakland Tribune about The Rainmaker at A.C.T.
“It's a very small place. Barnes stages the play in the Space Theatre, with a set by Robert Mark Morgan in which beds are made out of chairs and cots and walls are absent. The result is a home with eight people and no privacy, a pain felt particularly by a young girl in the first throes of adolescent sexuality.”
- Lisa Bornstein, Rocky Mountain News about Diary of Anne Frank at the Denver Center
Robert Mark Morgan transformed the theatre in the round into a bare necessities hiding place for eight people. The set alone entices the heart to skip a beat even before the play begins.”
- Holly Bartges, Colorado Backstage about Diary of Anne Frank at the Denver Center
“But most impressive of all - and I say this without taking anything away from the cast - was the set designed by Robert Mark Morgan. Performed in-the-round in the DCPA’s Space Theater, Morgan’s cramped set pulls the audience into Anne’s claustrophobic world.”
- Daniel Brogan, 5280 magazine about Diary of Anne Frank at the Denver Center
“The set by Robert Mark Morgan is a marvel, especially in the second act, with junk hanging everywhere. It is amazing to watch the open spaces of the drawing room filling up with an accumulation of debris such as books, piles upon piles of old newspapers, a cello and a harp among other items. It is an imposing sight.”
- Richard Connema, Talkin’ Broadway about The Dazzle at A.C.T.
Robert Mark Morgan's scenery was impressive—continuing a long line of wonderful stage design at ACT. Morgan's setting evoked the dilapidated farmhouse of the play through wooden beams and old furniture. Walls were eliminated so actors could move freely and so audiences could be privy to the play's private scenes: Jim's eavesdropping on the encounter between Hogan and Harder; Josie's misery when Jim doesn't keep their date. Overhead was suspended a patchwork of screens and paneling with diverse—and often delicate—designs that suggested the front of the farmhouse. It looked to have been cobbled together out of remnants of dozens of Connecticut farms; and consequently, it gestured toward the class distinctions at work in the feud between Harder and Hogan. At the same time, it hung directly overhead, suggesting the impending collapse of Hogan's hopes for Jim and his daughter. And this expressionism was complemented by the fencing that surrounded the stage—thin, jagged stakes held loosely together by old wire—which suggested the tattered psyche of Jim.”
- J. Chris Westgate, Eugene O’Neill Review about Moon for the Misbegotten at A.C.T.
“The chaotic atmosphere of Robert Mark Morgan's ramshackle barnyard of a set becomes a symbol of mental as well as physical decrepitude.”
- San Francisco Weekly about Moon for the Misbegotten at A.C.T.
“This is an aspect scenic designer Robert Mark Morgan brings out thoroughly in the Hogans' farmhouse, a rapturously ramshackle affair completely opened to the audience as well as to the turbid sky and dilapidated fence at the back of the stage. As evening descends, an enormous moon – itself a mixture of realistic detail and phantomlike presence – drifts in increments across the sky through smoky wisps of cloud.”
- Robert Avila, San Francisco Bay Guardian about Moon for the Misbegotten at A.C.T.
 “A wonderful rotating set shows the front of the quaint Parker house, its bay window, front door and stoop hung with snow (designed by Robert Mark Morgan). Behind it, the tops of houses and gables glow with lighted windows. And when wheeled 180 degrees around, it displays the inside of the house. In front of the bay window, the round-backed sofa, the Oriental rug, the old curved-edge radio all create a homey holiday feeling and awareness of days gone by. It works so well that the tone has more in common with It's a Wonderful Life than with A Christmas Story.”
- Marianne Messina, San Jose Metro about A Christmas Story at San Jose Rep
“John McCluggage's staging makes savvy use of Robert Mark Morgan's revolving set to maintain a cinematic flow. As Hiatt talks, Morgan's run-down, clapboard house rotates to reveal its period-perfect kitchen and living room…”
- Robert Hurwitt,  San Francisco Chronicle about A Christmas Story at San Jose Rep
“McCluggage’s savvy staging sweeps the audience through time and place in this extremely episodic play. The large turntable by scenic designer Robert Mark Morgan reveals ever-changing clever set pieces that suggest entire locales.”
- Tom W. Kelly, San Francisco Bay Times about A Christmas Story at San Jose Rep
“What's immediately noticeable about "Dinner" is one of the finest sets in the impressive portfolio of Robert Mark Morgan, well-known to Denver Center audiences for "Lobby Hero," "Bernice/Butterfly" and others. His elegant and evocative stage is framed by frames, a commentary on the fake faces we all don for one another.”
- John Moore, Denver Post about Dinner with Friends at Theatre Aspen
 “They discuss research and divulge secrets within the cozy desert dwelling — a lovely creation of set designer Robert Mark Morgan.”
- Emily Forbes, San Francisco Weekly about The Ice-Breaker at the Magic Theatre
“On a planned trashed set designed by Robert Mark Morgan, the dressing so well constructed, the set cries out the tone of the play from the beginning. There’s Lizzy’s bar with her name in red gaudy neon lights, the Jesus mannequin hanging on the cross, pieces of mannequins tossed around the tin trailer, and the Blood of the Lamp golf course entrance beckoning.”
- Holly Bartges, Colorado Backstage about Jesus Hates Me at Denver Center Theatre Co.
“The familiar yet funky authenticity of Robert Mark Morgan's multi-faceted set is filled with stellar images, from the Wal-Mart mannequin that has been transformed into a crucified Jesus on a latticework cross—marking the 17th hole; we're told the 18th hole is the Resurrection—to the impressively detailed Airstream.”
- Bob Bows, Variety Magazine about Jesus Hates Me at The Denver Center Theatre Co.
“With no curtain to encumber the view, the set of Jesus Hates Me is on display in the Ricketson Theatre from the moment the audience enters. A dilapidated, metal trailer home squats grimly stage left beneath a life-sized Jesus hanging out, so to speak, on a cross. The crucifix is actually the focal point of the 17th hole of the Blood of the Lamb miniature golf course owned and operated by the residents of the trailer, mother Annie (Kathleen McCall) and son Ethan (Justin Adams). A tin-roofed wooden shack adorned with classic RC and Pearl signs sits opposite the golf course/trailer park. Atop it buzzes the red neon sign for "Lizzy's" bar. Old-fashioned wooden telephone poles recede into the distance, an excellently executed illusion lending the rather shallow Ricketson stage significant depth.”
- Gary Zeidner, Boulder Weekly about Jesus Hates Me at Denver Center Theatre Co.
Robert Mark Morgan's set design — which crams a rundown trailer, bits of the golf course and a dusty bar on stage — creates a compelling visual element to the production.”
- Mark Collins, Boulder Daily Camera about Jesus Hates Me at Denver Center Theatre.
Robert Mark Morgan's versatile, evocative set crowds the proscenium of the Ricketson Theatre with humorous, articulate abandon.”
- Brad Weismann, Colorado Daily about Jesus Hates Me at the Denver Center Theatre
“Above all, there's a meticulously beautiful set by Robert Mark Morgan that makes the tiny Jones Theatre seem intimate rather than cramped; it gives the actors real freedom of movement. Every detail of the set coheres, from the glowing light sconces in the lobby to the dead leaves that have drifted to the edge of the sidewalk outside the apartment building.”
- Juliet Wittman, Denver Westword about Lobby Hero at the Denver Center Theatre Co.
“Set Designer Robert Mark Morgan and Lighting Designer Charles R. MacLeod deserve standing ovations of their own for the set they have created and the effect to which it is employed. Every brick in the wall, every sconce, every leaf lying in the gutter screams genuineness. The elevator doors open and close like real elevator doors rather than cheap scenery (heck, Star Trek couldn’t even manage that). Though there is no actual, physical demarcation between the lobby and the adjoining sidewalk and street, MacLeod’s lighting combined with the actors’ awareness makes you believe that there is a wall where there is not. Thus, Director David McClendon can take advantage of truly separate internal and external spaces, while allowing the audience to experience both without distraction. Before the first word of dialogue is spoken, you know you are in New York.”
- Gary Zeidner, Boulder Weekly about Lobby Hero at the Denver Center Theatre Co.
“The director remains faithful to the original setting of the play, in 1905, but lets the echoes reverberate from past to present and beyond (ingenious set by Robert Mark Morgan). By the final scene, when everyone huddles under a monstrosity of stainless steel and blinding light, a proto-futuristic jet fighter plane, it's clear ``Major Barbara'' has won the day.”
- Karen D’Souza, San Jose Mercury News about Major Barbara at San Jose Rep
“San Jose Repertory Theatre Artistic Director Timothy Near compounds the pleasure by making the play a visual as well as a verbal delight…Near and set designer Robert Mark Morgan set the scene with a nicely understated vision of luxury in the first act, a tastefully furnished drawing room with a long mahogany wall of arched alcoves. The last act shifts to Andrew's munitions factory, in a stunning depiction by Morgan and lighting designer Lap-Chi Chu.”
- Robert Hurwitt, San Francisco Chronicle about Major Barbara at San Jose Rep
“Set designer Robert Mark Morgan creates elegant, stylized versions of an upper-class British library and a soot-streaked Salvation Army shelter. In Act 3, when we're in need of some excitement, we get it in the form of a scene change. The nicely appointed library disappears, and we're suddenly blinded by the bright lights of what turns out to be a fanciful warplane. The scene has shifted to Undershaft's munitions factory, where the stage is dominated by a plane that might have come from an H.G. Wells novel.”
- Chad Jones, Oakland Tribune about Major Barbara at San Jose Rep
“The Rep's production deploys all the theatrical elements in a grand scene change that bares these revelations. Stagehands in white safe suits conduct curtains to rise, ushering in small- and large-scale models of Undershaft's vision. Brassy intimidation from Gustav Holst's Mars captures the power of such a vision. As lights come up on a scale model of a planned community, Mars gives way to the soft-stringed Venus, perfectly imaging the play's themes. This brilliant collaboration by director Timothy Near, scenic designer Robert Mark Morgan, lighting designer Lap-Chi Chu and resident sound designer Jeff Mockus creates the multi-metaphored spectacle that good theater is all about.”
- Marianne Messina, San Jose Metro about Major Barbara at San Jose Rep
 “Inevitability is emphasized by Robert Mark Morgan’s subtle metaphor of a set.  It is a towering wall of white cubicles – some empty, some holding heirlooms, some hiding their contents behind translucent paper.  Whose memories are these?  Are the empty boxes moments lost or moments not yet made?  However it’s interpreted, the wall illuminates the piercing truth of The Subject Tonight is Love.”
- Mark Blankenship, Variety Magazine about The Subject Tonight is Love at the Alliance

Two Degrees at Denver Center

World premiere of a play about climate change set in multiple locations in/around Washington, D.C. as well as the NEEM station in Greenland.
Written by Tira Palmquist
Directed by Christy Montour-Larson