The Boys From Syracuse


"From the moment one enters the intimate Lion Theatre and sees Joshua Warner’s irreverent Set: the giant, clip art, bulb-lit arrow and graphic pointing hand, a broken arc of stage bulbs, black and white cardboard cut-outs signifying Grecian columns and familiar blue and white Greek coffee shop signage, we know this is no traditional production of The Boys From Syracuse."

"The small stage is artfully occupied from the band on a balcony, up and down various ladders, and onto the theater floor by a predominantly talented and entirely game company." -Women Around Town

"The action is beautifully played out on set designer Joshua Warner’s playground of a post-modern collage that includes brightly-colored industrial steps, a massive cardboard clip art pointing finger, a quartet of cartoon ionic columns and an oversized Greek diner coffee cup." -The Broadway Blog

""...Musicals Tonight! is spiffier than ever with a great Greek set with movable columns, motifs from take-out coffee containers, masks of tragedy and comedy and other treasures. The choreography is full out period vaudeville, jazz, and nods to more recent styles. The costumes are also a joy.
All in all, this is one of the most wonderful revivals I've ever seen! ABSOLUTE HAPPY FACE"
-Hi! Drama


Gentlemen prefer blondes

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"They’re beautifully dressed by Jenni Oughton and perform the romp on a stage set inventively designed by Joshua Warner – his background for “Diamonds Are a Girl’s Best Friend” is a knockout that drew applause even before Lorelei sang the song." -The Barnstable Patriot

'There is one memorable scene in the second act when Lorelei sings “Diamonds Are A Girl’s Best Friend,” when the stage was aglow with lighting, set, costume, and singing. It was a tour de force moment."
-The Falmouth Enterprise



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" On the world-building side, the crew, led by scenic designer Joshua Warner... transformed the Highfield stage into an animated model of author Victor Hugo’s dark vision of Paris... [He] created a believable allegorical world and brought solidity to larger-than-life characters as the story moved toward its concussive conclusion."

"The primary setting of Quasimodo’s “top of the world” bell tower, with its rising rafters and swinging ropes and shifting staircases, projected a feeling of great height and the lengths to which a character might climb or fall." -The Falmouth Enterprise

"...With sets at a minimum (though wonderfully done). There are some beautifully staged moments – including the ethereal opening and almost every scene in the bell tower" -The Cape Cod Times



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"With set changes largely made through clever use of a group of golden chairs and a couple of partial backdrops that zip in and out, the characters move through the guest rooms, business rooms and particularly the busy lobby, where they are surrounded by hotel employees and other visitors pursuing their own stories."

"The whirl of people is exemplified by a revolving door, a terrific set piece by designer Joshua Warner that is key to the hotel feel. It’s also key to the fluidity of “The Grand Parade” opening and finale, and for the feeling... that whatever happens in this snapshot of time, the world keeps spinning and life goes on." 
-The Cape Cod Times

"The set was wonderful, as usual, and there was such a creative use of chairs to advance the scenes."-The Falmouth Enterprise



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"‘Theater Review: 'Patience' Is G&S At Its Finest’"

“The show opens to a set that looks like a Renaissance painting, with maidens wearing flowing dresses, some playing lutes, and all singing “Twenty love-sick maidens we.” -The Cape Cod Times

"The scenic design by Joshua Warner is simple but purposeful, delivering a depth onstage despite the limited amount of space and the large ensemble of players who often appear all together at the center of it." -The Falmouth Enterprise


The Yeomen of the Guard

"Director James Mills moves the chorus cleverly and naturally about the stage, making beautiful vignette after beautiful vignette. He takes full advantage of the suggestive and flexible scenery, lighting and special effects provided by set designer/technical director Joshua Warner and lighting designer Christopher Gilmore."

"See it or not? It is magnificent. See it if you can.

Worth price of admission: Every minute" 
-The Cape Cod Times


Disney's Beauty and the Beast

"The opening-night performance of “Beauty and the Beast” received a well-deserved standing ovation for a near flawless execution of a magical show which, for this reviewer, ranks as one of most entertaining and inspired productions orchestrated by the College Light Opera Company at Highfield Theatre."

"...From creative sets to dazzling costumes, this musical has it all."

"See it or not: Absolutely! From orchestra, sets, costumes and terrific acting and singing, this production is fabulous." 
-The Cape Cod Times


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