top of page Lawrence Bommer on Theo Ubique's production of Hedwig and the Angry Inch.


"Colt Frank’s grungy scenery, a graffiti gallery in its own right, and apt projections are powerful parts of an unforgettable production." Misha Davenport on Theo Ubique's production of Hedwig and the Angry Inch.


"You can't get much closer to the action in Theo Ubique's current production. Scenic designer Colt Frank surrounds the audience in Berlin Wall-inspired graffiti with the audience flanking the east and west sides of the theater space, giving the cast a thrust stage runway to use and director Toma Tavares Langston makes sure the cast utilizes the space to the fullest. The end result is perhaps the most intimate "Hedwig" experience you will ever have."

Chicago Tribune Chris Jones on Theo Ubique's production of The Bridges of Madison County


"...Theo Ubique comes roaring back with this immersive “Bridges,” beautifully designed by Colt Frank to express the flattened beauties of Iowa, with its warm light and covered bridges, but also its pens and fences, keeping everyone home in the pastures to which their community dictates they belong". Angie Field on Timber Lake Playhouse's production of Les Miserables


"All of those involved in this production have outdone themselves. Costuming, music, lighting, sets, props and the brilliant acting and extraordinary singing – each piece has come together to make this show a masterpiece that everyone should see". Angie Field on Timber Lake Playhouse's production of Rumors

"The show takes place on a larger than life set. The sets have been absolutely fantastic all season, and this one lives up to the lofty reputation. It's tremendously large and totally 80s. Purples of every hue color the walls, and a very well used staircase leads to an upstairs, complete with balcony. There are plenty of props to fall over and onto, doors to run into and alcohol to circulate to provide for the utmost comic effect." Thom White on Timber Lake Playhouse's production of Rumors


"...what especially amused me was how scenic designer Colt Frank and costume designer Kathleen Embrey managed to add humor by celebrating the tackiness of the story’s era. Frank’s set is a two-story home complete with second-floor landing and a hallway that runs off-stage. The staircase is decorated with floral arrangements set in two alcoves, and there are also pastel paintings on the lavender walls, making it humorously, hideously clear that this play is set in the 1980's (1989, to be exact) even before the performance begins". Mark Lowry on Casa Mañana's production of Pinkalicious


"What really makes the show stand out is the design, with Colt Frank’s pink-hued set (the Pinkertons’ home unfolds from a giant cupcake)...It’s enough to make everyone want a case of “pinkitis,” if only for a moment". Richard S. Blake on Casa Mañana's production of Oswald: the Actual Interrogation


"Colt Frank’s scenic design is masterful. The large (thrust) stage at Casa Mañana is transformed into an oversized and a bit askew replication of the actual interrogation room in the original Dallas Police Department’s building... From the green color of the ceramic-coated cinderblock walls to the glass in the door, all are wonderful replicas of not just a time gone by but a cold and unfeeling room specifically designed to get answers from people. I had been in the original room on a film shoot recently and instantly had goose bumps when I saw the stage". Jan Farrington on Casa Mañana's production of Big River


"It’s a simple but engaging idea that’s carried through by scenic designer Colt Frank in a consistent and playful way: the library stairs become riverboat railings, docks, or the path to a cave; the overturned library table becomes the raft; even a card catalog does double-duty as a coffin for the dear departed". Laura Kyro on The Conservatory of Theatre Arts at Webster University production of Yours Anne


“Technically, the production was first-rate, starting with a massive; multi-level set that was perfectly suited to the needs of the production. Iʼve not seen a set that looked that good for a while”. Gerry Kowarsky on The Conservatory of Theatre Arts at Webster University production of A Year With Frog and Toad


“A treat in everyway… looked like it popped out of a story book.” 

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