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”


“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.”


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.”