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The Phoenix debuts with a madcap rendering of Kafka
by Francine Russo  January 4th, 2005

The production's inspired design team nails every mood and genre. Set designer Robert Klingelhoefer's screens-on-wheels scatter and merge to form everything from murky streets and impenetrable walls to revolving doors for slapstick entrances. Tony Mulanix's bleak lighting
casts ominous shadows, made even spookier by Ellen Mandel's discordant synthesizer chimes. Margaret A. McKowen's beige-tone Edwardian costumes evoke the elegance, lewdness, and misery of this multifaceted world


The Trial
by Martin Denton • December 21, 2004

In just four short months—Phoenix was initiated in
August—they have mounted a full-fledged revival of a
difficult and complicated play; no easy proposition even
for the most experienced hands.
They have, in very large measure, succeeded
impressively: know-how goes a long way.

The physical production—Robert Klingelhoefer's stark,
moveable set composed of dark doorframes and
uncomfortable-looking prison cots; Margaret A.
McKowen's varied and often fanciful costumes; Tony
Mulanix's moody, angular lighting; and Ellen Mandel's
arresting and sometimes unnerving score—is top-notch.
Adamson's staging is clear and focused and frequently

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