PRESS: A Little Too Cozy
Now Magazine, Toronto — Glenn Sumi
“Snezana Pesic’s sets and costumes are suitably brash and telegenic.” |
Calgary Herald, Calgary– Stephan Bonfield
“It’s a lot of hats to wear for Mr. Ivany but he was surrounded by an excellent creative team to help pull it all off, including … set concept and design/costume design by Snezana Pesic” |
Operaramblings,Toronto
“The costuming (Snezana Pesic) is wicked from Fonzo’s suits … to the coy/tarty bridal gowns of the final act“. |
PRESS: Arms and the Man
Capital Critique Circle, Alvina Rupercht
“Snezana Pesic’s nearly abstract but beautifully functional set in light airy colours, creates abstract space that transforms itself with a little help from the cast, into any space one could imagine.” |
Ottawa Citizen, Patrick Langstone
“… Credible staging of a play … is rounded out by strong design including Almut Ellinghaus’ masks and Snezana Pesic’s set that blends straight lines and curved as the play and production blend the skewering of foolishness, humanity, and unexpected juxtapositions.” |
New Ottawa Critics, From the Cheap Seats, Ian Huffam
“Designer Snezana Pesic also calls attention for her ability to render the realistic particularities of Shavian set design into the abstract expressionism that Odyssey Theatre requires. Nothing is there that doesn’t need to be, but at no point does any part of the stage feel empty, an admirable achievement.” |
New Ottawa Critics, From the Cheap Seats, Brianna McFarlane
“Keeping it relatively simplistic the stage is neither overbearing nor underwhelming, it suits the story and the style perfectly and is ultimately effective in creating a world for these larger than life characters to play in. Nothing is on stage that doesn’t need to be and the set transitions are seamless.” |
PRESS: The Game of Love and Chance
Productions Ottawa, Allan Mackay
“Complimenting the mask work, the costumes here are gorgeous and create a nice sense of the class division present in the era and material. The set is both simple in design and complex in practice, in that it takes place in the outdoors of Strathcona park and the staging takes full advantage of the natural setting near the stage…” |
Ottawa Citizen, Patrick Langstone
“Designer Snezana Pesic’s garden set spills over nicely into the trees of Strathcona Park which are sometimes used as part of the acting area.” |
Capital Critics Circle, Ottawa — Alvina Ruprecht
“Snezana Pesic’s costumes were fitting and her set shone and glittered like the perfect site of one of Offenbach’s musical masterpieces.” |
PRESS: One
Monday Magazine, Victoria– Marry Ellen Green
…”Visually stunning”… “Fading in and out of complete darkness, One has an etherial quality thanks to Snezana Pesic’s innovating lighting design.” |
Buffoonery Workshop, Vancouver, Trilby Jeeves
“A visual treat”… “The sound, lighting, costumes and spatial usage in this production had us brilliantly spinning and believing in dusty library shelves, blustery seas, star studded skies, a time warped office, and a grim location.” |
11 Stations, Vancouver, by Lima Al-Azzeh
“… the show is punctuated by some of the most innovative lighting and sound design I’ve witnessed in a long time” |
Toronto Star, Toronto– Robert Crew
…”a visually fascinating, Alice-in-Wonderland treatment of the ancient story of love and loss.” |
The Globe and Mail, Toronto
…”The sights and sounds of Hades are truly frightening thanks to Snezana Pesic’s atmospheric lighting and Matthew Waddell’s intense sound design. “ |
Mooney on Theatre, Toronto — Sonia Borkar
“The story comes alive with fabulous acting, gripping sound effects, magical sets and perfect lighting.” |
Avenue magazine, Calgary — Will Knoll
“The show is exquisitely designed…” “The lighting design plays with the way our eyes adjust to light, letting the set and scenes coalesce out of darkness and fade into unseen distances. Effective use of side lighting and shadows on bodies created images that some of the most visually expensive movies would kill to be able to pull off. With just a light and a turn of a head ONE creates images that rival big budgets and expensive computer renders.” |
Edmonton Journal, Edmonton — Liz Nichols
“There’s a clarity of narrative impulses and emotion here,… to which the styled contribution in light and props, of designer Snezana Pesic is not just atmospheric but crucial.” |
PRESS: The Cherry Orchard
Edmonton journal, Edmonton — Liz Nicholls
Cherry Orchard visually lovely (title) “Snezana Pesic’s design is unusually spare and elegant. None of the usual dust cloths and clutter as Lyubov and her unravelling entourage return home to Mother Russia after five years. She gave us instead a floating image of a luminous branch, a doll-house, two outsized frames, a couple of chairs and a lot of space. The family don’t seem to occupy their old lives.” |
Vueweekly, Edmonton — Brian Gibson
“…designer Snezana Pesic has made the set minimalist and austere. Costumes are lean, elegant and subtly filled with character… |
See magazine, Edmonton — Gilbert A. Boushard
“This directorial elegance is matched by a clean, spartan set and lighting design by Snezana Pesic.” |
PRESS: Antigone
Vueweekly, Edmonton — Brian Gibson
The costumes, deftly designed by Snezana Pesic, range from sister Ismene’s (Ava Markus) classical robe to the stylized black-and-red of Antigone (Kirsten Rasmussen) and Creon (Cole Humeny). Bound and sashed by blood-stream strips, Oedipus’s daughter faces off against her uncle, his black uniform with red, military-like stripes proclaiming his rigid authority. |
PRESS: Mighty Carlins
Edmonton Sun, Edmonton– Justin Bell
“The simplistic set design (a table, counter, fridge and possibly hundreds of beer cans) helps to keep attention fixed squarely on the unfolding family meltdown going on in the Carlin kitchen.” |