PRESS RELEASE
PRESS: BAD roads
“Costumed perfectly by Snezana Pesic (Soulpepper’s The Seagull), the effect is devastating, with the flashes of war lighting up the horizon…”
Times Square Chronicles — Ross
“In fact, the production values of this show are monumentally clever for such a small space. A special kudos goes to costume designer Snezana Pesic for realism writ large.
Ludwig Van,Toronto — Paula Citron
“I thought it was brilliant how the red scarf travelled from scene to scene, always making an appearance even if it wasn’t being worn the whole time. It was a beautiful symbol of how integrated each story and scene truly were. “
A View fro the Box,Toronto — Anine Marley
PRESS: THE Seagull
“Monteith looks appropriately glamorous in Snezana Pesic’s thoughtful costumes, which always have Irina in signature shades of red.”
“It is Santalucia’s Konstantin who is the show’s riveting through-line from the minute he comes onstage looking like a Beckett clown in a baggy mismatched suit and weird black mop of hair. “
Toronto Star — Karen Fricker
PRESS: A Little Too Cozy
“Snezana Pesic’s sets and costumes are suitably brash and telegenic.”
Now Magazine, Toronto — Glenn Sumi
“The costuming (Snezana Pesic) is wicked from Fonzo’s suits … to the coy/tarty bridal gowns of the final act“.
Operaramblings,Toronto
PRESS: Arms and the Man
“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.”
Capital Critique Circle, Alvina Rupercht
“… 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."
Ottawa Citizen, Patrick Langstone
“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, Ian Huffam
“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.”
New Ottawa Critics, From the Cheap Seats, Brianna McFarlane
PRESS: The Game of Love and Chance
“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…”
Productions Ottawa, Allan Mackay
“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.”
Ottawa Citizen, Patrick Langstone
“Snezana Pesic’s costumes were fitting and her set shone and glittered like the perfect site of one of Offenbach’s musical masterpieces.”
Capital Critics Circle, Ottawa - Alvina Ruprecht
PRESS: One
…”Visually stunning”…
“Fading in and out of complete darkness, One has an etherial quality thanks to Snezana Pesic's innovating lighting design.”
Monday Magazine, Victoria- Marry Ellen Green
“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.”
Buffoonery Workshop, Vancouver, Trilby Jeeves
“… the show is punctuated by some of the most innovative lighting and sound design I’ve witnessed in a long time”
11 Stations, Vancouver, by Lima Al-Azzeh
…”a visually fascinating, Alice-in-Wonderland treatment of the ancient story of love and loss.”
Toronto Star, Toronto- Robert Crew
…”The sights and sounds of Hades are truly frightening thanks to Snezana Pesic's atmospheric lighting and Matthew Waddell's intense sound design. “
The Globe and Mail, Toronto
“The story comes alive with fabulous acting, gripping sound effects, magical sets and perfect lighting.”
Mooney on Theatre, Toronto - Sonia Borkar
"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."
Avenue magazine, Calgary - Will Knoll
"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."
Edmonton Journal, Edmonton - Liz Nichols
PRESS: Antigone
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.
Vueweekly, Edmonton - Brian Gibson
PRESS: Mighty Carlins
"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."
Edmonton Sun, Edmonton- Justin Bell