Reviews & Press
Critical praise and citations from regional and national publications celebrating the scenic, environmental, and production designs of Jenna McFarland Lord over two decades on stage.
In other words, 'The Last Five Years' is a thing of intricacy and delicacy, and much depends on the execution — a challenge director Leigh Barrett more than meets at Lyric Stage Company of Boston, with an invaluable contribution from set designer Jenna McFarland Lord.
Jenna McFarland Lord's set for Gloucester Stage Company's Mr. Fullerton, Between the Sheets floats on a sea of words... At first glance, the intimate black box theater is a stylized version of an early 20th-century drawing room, living room, and bedroom... But look closely. Throughout the room you can slowly make out handwritten texts. Word fragments can be seen along the face of the platformed bedroom and sitting room, in the ceiling trim, on the large curtain that stretches across the back of the space. Words even peek out on the floor underneath the carpets. The set is floating on the alphabet.
Jenna McFarland Lord's set perfectly reflects the comfortable yet sterile sameness of independent living community cottages, creating the ideal spatial tension for this multi-generational story.
The drawing room (wonderfully realized by scenic designer Jenna McFarland-Lord) in Salisbury, British South Africa, now Harare, Zimbabwe, beautifully captures the historical backdrop of the late 19th century where the drama unfolds.
The wild, chaotic Brooklyn apartment serves as the hub for the characters' energetic and emotional roller coaster, brought to life through Jenna McFarland Lord's vibrant, character-driven scenic design.
A striking Pop art-inspired scenic design with black-and-white wall and floor panels reminiscent of a graphic novel or Roy Lichtenstein artwork, dynamically transforming under lighting to reveal hidden visual cues.
Jenna McFarland Lord designed an excellent multi-tiered, skeletal wooden set evocative of a dollhouse, allowing for fluid transitions between multiple stories and neighboring domestic spaces.
Jenna McFarland Lord cleverly sets the Santa Cruz coastal atmosphere using playful rolling surfboards mounted on swivel bases to simulate the bobbing ocean waves.
Scenic designer Jenna McFarland Lord uses shifting panels to smoothly transition the action between a high-end Manhattan penthouse and Baltimore.
A breathtaking set design that immediately immerses the audience in the memory play's fragile, poetic emotional landscape.
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