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". . . the house under renovation, recently purchased by an outsider, was once family home. (Owners beware: Richard Chambers's meticulously distressed kitchen set will send chills up the spine of anyone planning renovations.)"
Charles Isherwood, New York Times:The Blowin of Baile Gall
"No description of this play would be complete without a shout out for Richard Chambers' virtuoso recreation of a kitchen undergoing renovation that looks like a post-bombing scene. The scraps of wall paper, hole in the wall where a stove once stood, the crates and milk boxes to which the workers claim proprietary rights not only serve as a perfect background but as a metaphor of a decrepid social milieu undergoing a complete overhaul."
Curtain Up:The Blowin of Baile Gall
"The natives' insular nature proves to have calamitous repercussions in Noone's play, which unfolds in a home undergoing renovation (Richard Chambers' mid-construction scenic design astounds)."
Andy Probst, Back Stage: The Blowin of Baile Gall
"Can it be? A design-award-winning 283-square-foot kitchen in Midtown Manhattan -built from scratch for well under $5,000? Richard Chambers has found a way: His set design for Ronan Noone's "The Blowin of Baile Gall," opening Tuesday at the Off Broadway Irish Arts Center, depicts a kitchen in exquisite detail - albeit exquisitely dingy, dilapidated detail. Mr. Chambers rebuilt the set, which won an Elliot Norton Award in Boston, for less money than it costs most New Yorkers to reface their cabinets."
Eric Grode, The New York Times, Feature Article, "Ultra Shabby Chic". The Blowin of Baile Gall
". . . the brilliantly abstract set by Richard Chambers -- a looming blue-wicker wave from which Santiago's humble hut protrudes like a lonely raft."
Thomas Garvey, The Boston Globe: The Old Man and the Sea
"Richard Chambers' terrific set is dominated by a sea of white sand into which characters bury objects, spread their arms, and leave footprints. The metaphor is perfect -- "Frozen" is a picture of the heart reduced to an arctic desert."
Bill Marx, WBUR: Frozen
"The other masters of subtlety are scenic designer Richard Chambers and lighting designer Daniel Meeker who manage to represent both a New York City photographer's studio and the remains of Ana's home in Karabakh with a single construction of 2 x 4's, tarps, parachute silk and temporary Lucite panels. The bits of concrete in the foreground with their twisted metal supports poking up represented-for me anyway-the recent horrific destruction in both of these locations."
Susanne Bixby, Talkin' Broadway--Boston: A Girl's War
"Richard Chambers's superb street-corner set manages to project both red-brick solidity and a certain quality of enchantment, a dreamlike super-stillness into which the rumors of war are filtered by radio and mail, and not entirely understood."
James Parker, The Boston Globe: The Sweepers
Richard Chambers gets better and better. Less is more with his set designs. The simplicity of the Manhattan apartment against the New York skyline is magical, combined with Christopher Chambers’ nighttime lights in the buildings. Even the simple suggestion of an airport with the view of the runway and just the branches of trees for the park make clear statements.
Libby Hughes, Cape Cod Today: Sylvia
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