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Coffee and Biscuit


The New York Times

By Laura Collins-Hughes, Aug. 19th, 2014


““Coffee and Biscuit,” Teresa Ann Virginia Bayer’s retelling of “A Doll’s House,” is worth seeing for Douglas Clarke’s black-and-white 1950s set; Alexandra Rozansky’s color-popping period costumes; Jeffrey Dorfman’s sound design; and, most of all, the staging by Ms. Bayer with TJ Burleson.”


Theater in the Now

By Michael Block, Aug. 20th, 2014


“The manic world that Nora lives in is defined by a greyscale set designed stunningly by Douglas Clarke.”


Junie B. Jones Is Not a Crook


DC Metro Theater Arts

By Nicole Hertvik, June 20th, 2017


“Staging and costumes bring to mind a five-year-old Pablo Picasso left alone in a room with a box of crayons. Beautiful primary colors and geometric shapes arranged with artistic flourish, blocks of carpeting on the walls, yards of yarn interwoven with tube lighting, retractable swings and a see-saw made of rainbow carpet: No detail was too small for Costume Designer Eric Abele and Scenic Designer Douglas Clarke.”



Valley Screen and Stage

By David Appleford, May 1st, 2017


“But it’s Douglas A Clarke’s set design, lit by Paul A. Black’s atmospheric lighting, that steals the show. With its elevated balcony level, metallic handrails, staircases, and backdrop projections of either a London skyline, night stars or Gothic looking windows, with adjustments and prop additions from scene to scene, Clarke’s set can be at once a depressing workhouse, a bleak undertaker’s parlor, London’s shady East End, Fagin’s derelict kitchen and den, a crowded pub called The Three Cripples, fashionably upscale Bloomsbury, and a foggy, dangerous night by and on London Bridge, all with equal success.”

Note: There were no projections, just scenic pieces and lighting.

Harold and Maude


The Denver Post

By Claire Martin, Oct. 14th, 2014


“Douglas Clarke's excellent, versatile set almost is a character itself,

with elegant paneled walls that recede to become Maude's borrowed apartment.”


BWW Reviews

By Chris Arneson, Oct. 7th, 2014


“The set was designed by Douglas Clarke, who is quickly becoming one of my favorite local scenic designers for his use of space. Much like some of his other Vintage designs (Grey Gardens, Young Frankenstein), Harold and Maude was full of smart surprises.

Notably Maude's home, revealed behind 2 sliding walls, was a delightfully colorful contrast to Harold's bland home in the foreground. Her collection of artifacts was overwhelming and perfect. Additionally, a wall swung out to reveal a psychiatrist's office, and characters popped out from behind hinged panels, adding humor to an already comical conversation.”


Unity 1918


Manhattan with a Twist

By Nelson Diaz-Marcano, Aug. 10th, 2015

“The chemistry of this cast mixed with the excellent sound coordination from Joe Jung and the scenic design of Douglas Clarke creates a theatrical experience I will not forget anytime soon. It will stay with me for a long time.”


Grey Gardens


Marlowe’s Musings

By David Marlow, April 23rd, 2014


“There is such a need for a sense of place in this musical that a great deal falls upon the artistic shoulders of the person creating the set. The mantle of scenic designer is worn well by Douglas Clarke, who does a great job creating the look of Grey Gardens in its heyday and later as a ruin. Clarke has chosen to adorn the set with clinging vines that are inseparable from the façade. The interior segues from a sumptuous elegance to that of a squalid ruin littered with cans of cat food that “the health department deemed unfit for human habitation.””


End of the Rainbow


Valley Screen and Stage

By David Appleford, May 2nd, 2015


“Each moment when scenic designer Douglas Clarke’s inventive revolving stage alters and changes the hotel room into The Talk of the Town, you’re transfixed.”


BWW Reviews

By Herbert Paine, May 3rd, 2015


“Douglas Clarke's design of the suite at the Ritz, complete with fainting couch and a Steinway, is an elegant backdrop to the drama ~ stately and refined, in marked contrast to the turbulence that it houses.”



Welcome Home Jenny Sutter    2019 - 2020 ariZoni Award Recipient

Dead Man's Cell Phone               Finalist - World Stage Design 2017 Emerging Designers Exhibition - Taiwan

Calendar Girls                            2015 - 2016 ariZoni Award Nomination

She Kills Monsters                     2015 - 2016 ariZoni Award Nomination

Rabbit Hole                                2015 - 2016 Henry Award Nomination

End of the Rainbow                     2014 - 2015 ariZoni Award Recipient

Night Mother                                2014 - 2015 Henry Award Nomination

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