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Mary Moody Northen Theatre's ANON(ymous)
At St. Edward's, this reworking of Homer's Odyssey gives names to the nameless in today's immigrant crisis
Arts Review  November 16, 2017, by T. Lynn Mikeska
"...Lightning-quick surprises constantly spring from Jessica Colley-Mitchell's impressive set that features nine possible entrances in a bi-level playing space. Kathryn Eader and K..."

The Government Inspector at Mary Moody Northen Theatre
The St. Edward's University Theatre Department delivers Gogol's Russian satire with gigagags at top speed
Arts Review  February 18, 2016, by Shanon Weaver
"...The environment is crafted well by gorgeous, spot-on costuming by Mercedes O'Bannion, complemented by Tara Cooper's hair and makeup design. Chase Staggs gives us a great set illuminated with specific, well-executed lighting by Kathryn Eader..."

To Kill a Mockingbird at St. Edward's University
The Mary Moody Northen Theatre staging of Harper Lee's novel is a shining example of a classic tale told well
Arts Review  November 19, 2015, by Shanon Weaver
"...The sheer beauty and innocence displayed as Scout obliviously stops a lynch mob elicits a tear or two, Tom Robinson's trial has the audience leaning in, and Bob Ewell's comeuppance at the hands of the as-yet-unseen Boo Radley still provokes gasps. The show is well lit by Kathryn Eader, particularly during the attack on Jem and Scout, though a few lighting shifts during the trial (presumably meant to shift mood?) are a bit distracting..."

The melancholy Dane gets fierce in this most professional staging by Mary Moody Northen Theatre
Arts Review  November 20, 2014, by Elissa Russell
"...The technical aspects also exude professionalism. The costumes by Susan Branch Towne and lighting by Kathryn Eader are exquisite, both adding aesthetic touches that enhance the production..."

Tina Howe's satirical study of the people viewing a contemporary art exhibit becomes a fast, over-the-top romp at St. Ed's
Arts Review  October 4, 2013, by Adam Roberts
"...The experiment begins as soon as one enters the theatre, which, thanks to scenic designer Leilah Stewart, properties designer Rachel Magee, and lighting designer Kathryn Eader, feels just like walking into an actual museum exhibit. Every detail, from the pedestals on which the curious "statues" are perched to the benches that demarcate the outside walls of the gallery, is right on..."

Measure for Measure
Mary Moody Northen Theatre delivers a colorful version of Shakespeare's grayscale comedy that's worth seeing
Arts Review  February 22, 2013, by Jillian Owens
"...An arresting sapphire stage dominates Lisa Laratta's set. Kathryn Eader's magical lighting brings oranges, purples, and greens into the picture..."

Top 10 Designer Contributions of 2012
Celebrating the year's most exquisite – and often surprising – stage designs
Arts Story  January 4, 2013, by Elizabeth Cobbe
"...4) KATHRYN EADER'S LIGHTING FOR 'UNDER CONSTRUCTION' (Mary Moody Northen Theatre) The lighting tied together the work of a splendid design team...."

Under Construction
A lively collage of all-American memories at once thoughtful, funny, and poignant
Arts Review  October 5, 2012, by Jillian Owens
"...Making the script's conscious sentimentality palpable are T'Cie Mancuso's costumes that look like they jumped out of a Norman Rockwell painting (Mee's other inspiration); Leilah Stewart's versatile set, which becomes everything from dining table to automobile, and displays iconic American artifacts like a bowling pin and typewriter to great visual effect; and Kathryn Eader's lighting and Buzz Moran's sound, which create a sense of place for each scene...."

The Crucible
St. Ed's stages a chilling version of Arthur Miller's indictment of McCarthyism
Arts Review  February 24, 2012, by Jillian Owens
"...Edward's production converge seamlessly to give life to this bleak world, with strikingly simple scenic design by Christopher McCollum – sturdy, versatile wood tables and benches that complement Susan Branch Towne's rich, detailed period costumes. Kathryn Eader's fine lighting design mirrors the play's alternating moments of chaos and stillness, and Buzz Moran's creepy sound design cleverly manipulates the audience's emotions, making us feel like we're in a well-made horror movie..."

Table Banquet
The nominees for the 2013-2014 Austin Critics Table Awards
DAILY Arts  May 8, 2014, by Robert Faires
"...Kathryn Eader, The Secret Garden/Tosca/Merrily We Roll Along..."

Critics Table Tops at 25
The nominees for the 2016-17 Austin Critics Table Awards
DAILY Arts  May 22, 2017, by Robert Faires
"...Lighting Jason Amato, Atlantis: A Puppet Opera Patrick Anthony, A Perfect Robot/Old Times Don Day, John Kate Ducey, The Drowning Girls Kathryn Eader, The Manchurian Candidate Natalie George, The Resistible Rise of Arturo Ui/11:11/Potential Natalie George & Sadie Langenkamp, Riverside Stephen Pruitt, More or Less/One Step at a Time/”panning_memory” Alex Soto, Radiance Scott Vandenberg, Las Cuatro Estaciones: A Story of Human Trees..."

2012 Austin Critics Table Awards
For the 20th time, a big hand for the nominees if you please
Arts Story  May 25, 2012, by Robert Faires
"...Kathryn Eader, The Further Adventures of Hedda Gabler..."

Top of the Line
The nominees for the 2011 Austin Critics Table Awards
Arts Story  May 27, 2011, by Robert Faires
"...Kathryn Eader, Who's Afraid of Virginia Woolf?/ La Hija de Rappaccini..."

Austin Critics Table Nominations, 2003-2004
The full list of nominations for the 2003-2004 Austin Critics Table Awards, recognizing outstanding achievements in local theatre, dance, classical music, and visual art
Arts Story  May 14, 2004, by Robert Faires
"...Kathryn Eader, La Tentación de San Antonio..."

More Places at the Table
The Austin Critics Table is about to hand out its annual awards for achievement in the arts for the 10th year, and the list of nominees is longer than ever.
Arts Story  May 24, 2002, by Robert Faires
"...Kathryn Eader, The Glass Menagerie..."

The thrill that comes from the bright, full, flashy, splashy sound of a brass band is the feeling you get from Austin Musical Theatre's production of Sweet Charity and to coin a phrase, how sweet it is.
Arts Review  May 17, 2002, by Robert Faires
"...In this show, even the chrome is brassy, given the way set designer Christopher McCollum wittily uses it to announce a certain kind of Sixties chic in interior design, in this case, for the bachelor pad of foreign film heartthrob Vittorio Vidal (David Hess, oozing charm as slick as his hair and alternately befuddled and bemused by our gal Charity). In fact, the show's whole approach to design is a brassy embrace of Sixties style, from McCollum's wall-o-Warhol, with Vittorio's face reproduced à la Andy in a floor-to-ceiling grid, to Neal Teguns' heavily fringed and flared, let-the-sunshine-in costumes to Kathryn Eader's Day-Glo lighting, which shines on the Fan-Dango dancers' sequined-within-an-inch-of-their-lives mini-dresses to literally dazzling effect...."

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