What other people say About Kristeen's Work - 

 

 

 

The Oregonian on Third Rail Repertory's Midsummer

"Kristeen Crosser's lighting skillfully reinforces time and mood changes -- most effectively toward the end when lighting evocatively conveys the sunlight that finally breaks through the clouds and fog."

http://www.oregonlive.com/performance/index.ssf/2014/03/in_midsummer_a_play_with_songs.html

 

Oregon's Arts Watch on Third Rail Repertory's Gideon's Knot -

"Scenic designer Kristeen Crosser makes you feel as if you've walked straight into an after-school parent/teacher conference."

http://www.orartswatch.org/fight-club-unraveling-gidions-knot/

 

The Oregonian on Artists Repertory Theatre's Foxfinder- 

"Just behind the farmhouse, the remarkable lighting and set designs of Kristeen WIllis Crosser show the woods to be terrifyingly near, each encroaching tree speared in its own shaft of light."

http://www.oregonlive.com/performance/index.ssf/2013/11/foxfinder_review_artists_reper.html

 

Portland Monthly Magazine on Coho Productions's The Outgoing Tide - 

"Scenic designer Kristeen Willis Crosser also demonstrates great economy: by using exactly the kinds of colors and materials you'd find in a beach house, she evokes the play's setting with just a few pieces (and a lovely painted backdrop"

http://www.portlandmonthlymag.com/arts-and-entertainment/culturephile-portland-arts/articles/review-cohos-the-outgoing-tide-october-2013

 

 

Broadway World on Coho Productions's The Outgoing Tide - 

"The physical production is simple but elegant.  Kristeen Willis Crosser's set and lighting perfectly depict life at the shore, with frequent changes for time and climate, not to mention the numerous flashbacks."

http://www.broadwayworld.com/portland/article/BWW-Reviews-A-Fractured-Family-Faces-THE-OUTGOING-TIDE-at-CoHo-Productions-20131020

 

 

 

Portland Drammy Award Committee on Profile Theatre's Master Harold and the Boys - 

"The walls of the theatre melted away and we walked right into the world of this play, as the scenic designer made us smell the coffee and taste the cake, on this wet and windy 1950's day, as though we were regular clientele."

 

The Oregonian on Profile Theatre's My Children My Africa - 

"Kristeen Willis Crosser's subtle, simple scenic design...help(s) tighten the tension."

http://www.oregonlive.com/performance/index.ssf/2013/05/profile_theatre_review_my_chil.html

 

 

The Oregonian on Profile Theatre's Blood Knot  - 

"...decrepit shack (which is artfully conjured from slats of packing-case wood by scene designer Kristeen Willis Crosser)."

http://www.oregonlive.com/performance/index.ssf/2013/03/blood_knot_review_profile_thea.html

 

 

 

 

Portland Monthly Mag on Profile Theatre's Blood Knot - 

"The story is simple enough: two brothers share a one-room shanty (evocatively constructed from wooden pallets, cardboard and duct tape by scenic designer Kristeen Willis Crosser)."

 

The Oregonian on Portland Shakespeare Project's King Lear - 

" ... Kristeen Willis Crosser provides lighting effects that not only suggest lightning but also include strange  flashes of color.  Both Designers (sound and lights) help to set the drug-induced semi-conscious world of the contemporary patriarch of the play's fame."

 

Portland Drammy Award Committee on Miracle Theatre's Oedipus El Rey - 

"This designer's creativity and technique enabled the director to make full use of the entire space. The lighting was by turns revealing and concealing, tender and brutal, evocative and precise." Drammy Award to Kristeen Willis Crosser in 2012.

 

The Oregonian on Miracle Theatre's Oedipus El Rey - 

"The lighting (designed by Kristeen Willis Crosser) and sound (by designer and composer Sharath Patel) continue the primitive, abrupt rhythm: one moment we are in a mythic and dark place as Oedipus, in fear for his life, is ordered to answer the riddle of the sphinx; an instant later the light is clean and bright and the sprightly pop song "Chapel of Love" is heard." 

 

http://www.oregonlive.com/performance/index.ssf/2012/05/oedipus_el_rey_review_alive_wi.html

 

 

Oregon Arts Watch on Artists Repertory Theatre's Race - 

"Kristeen Willis Crosser's subtle and effective lighting design... deserves mention".

 

http://www.orartswatch.org/in-race-david-mamet-the-artist-is-better-than-david-mamet-polemicist/

 

 

The Oregonian on Profile Theatre's Lips Together Teeth Apart -

"...lighting designer Kristeen Crosser distinguishes individual character's inner space from 'real' shared space with the careful management of stage illumination."

http://www.oregonlive.com/performance/index.ssf/2011/10/lips_together_teeth_apart_revi.html

 

 

 

The Oregonian on Portland Shakespeare Project's As You Like it - 

"While Adam inexplicably disappears from the script after this scene, in this production this scene ends with lighting designer Kristeen Willis Crosser's lights slowly fading into a mournful evening darkness while Adam is carried off the stage as if he died -- an explicit reminder of the ultimate end of the life cycle just described by Jaques,  Even at play's end when all are on stage to celebrate the joyous marriages, the subdued color palette of Jessica Bobillot's well-crafted period costumes and Crosser's lighting combine to give the state picture an almost sepia-like tone that along with Mary Kadderly's wistful accordion music gently mutes the celebratory mood." 

 

http://www.oregonlive.com/performance/index.ssf/2011/07/as_you_like_it_review_a_winnin.html

 

 

The Oregonian on Miracle Theatre's Mariela In the Desert - 

 

"...set, which absolutely glows under Kristeen Crosser's lighting.  The beauty, desolation, and vibrant ache of the desert come to life on the Miracle stage for this production, which really shouldn't be missed."