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PIONEERS GO EAST THEATRE COLLECTIVE REVIEWS:
S 16 - Luna Nera
“S 16...knocks down the walls between expressive genres and amalgamates music, video, and acting into an adrenalizing, dramatic experience.” -Lisa Jo Sagolla, Backstage 2012
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I Fioretti in Musica
"...thrilling, touchning, unforgettable...this is a special work of theater. It takes a hearfelt tale and presents it in new and innovative ways..." - Kelly Aliano - Off-off online -2010
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Butter Melts away
''hypnotic thanks to its cast and the force of its attractive choreography”
-The New York Times - Jack Anderson - 2005
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Butter Melts away was part of “A selective listing by critics of The Times: New and noteworthy Broadway, Off Broadway and Off Off Broadway shows this weekend ”
-The New York Times- 2005
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Butter Melts away
“The first thing that strikes about La MaMa’s production of Butter Melts Away My Letters, a dance-theatre work conceived and directed by Gian Marco Lo Forte, is the set. A large, two-story frame with curtains in front, it seems almost oppressive on the small, black stage”.
-nytheatre.com – David Pumo -2005
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Caravaggio Chiaroscuro
“Lo Forte and Drance and all the others have been working since June to convert La MaMa theater into a Rome street that wraps itself horseshoe style around and into the audience”
-The Villager- Jerry Tallmer- 2007
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Caravaggio Chiaroscuro
“this ambitious multi-media work captures the essence of this most controversial figure (Caravaggio)… Part of the dialogue is in Italian: it gives an authentic flavor to the setting and period…the passion with which it is spoken speaks volumes…. Most effective are some of the visual images that suggest Caravaggio paintings… Lo Forte’s wooden scaffolding setting itself which becomes an Italian street, an interior of an artist’s studio, a many roomed tavern, a prison cell, etc., turns the entire theater into an Italian Renaissance environment”.
- Theatrescene.net – Victor Gluck- 2007
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Caravaggio Chiaroscuro
“Una scenografia eccezionale, complessa ma funzionale…l’antica Roma delle taverne e dei mercati…azione, energia, collutazioni…uno spettacolo riuscito, ed e’ prevalentemente in italiano…consigliato a tutti , specialmente a chi ama la lingua italiana”. ( “An exceptional set design. Complex and functional…the ancient Rome made of taverns and market scenes…action, energy and fights…a well conceived spectacle with Italian passages. For everyone, and especially to those who love the Italian language”.)
–America Oggi- La Repubblica (Italian newspaper)- Mario Fratti -2007
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Caravaggio Chiaroscuro
“Estrema intelligenza per comunicare l’essenza di Caravaggio…I dialoghi sono in inglese ma con numerose battute in Italiano e la musica combina forme moderne e classiche…di straordinaria bravura gli attori…” (“Really intelligent choices to portray Caravaggio…the scenes are in English but with numerous colloquialism in Italian and the music combines classical idioms and modern style composition…the actors are extraordinary”.)
–America Oggi- La Repubblica (Italian newspaper)- Gina Di Meo-2007
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GIAN MARCO LO FORTE - SET DESIGN REVIEWS:
Ching Chong Chinaman – Pan Asian Rep.
“The crew is equally adept — Gian Marco Lo Forte’s smart set utilizes almost every inch of the stage at the West End Theater, and Ji-Youn Chang’s lighting and Robert Murphy’s sound provide first-rate support.”
-The New York Times- Ken Jarowoski -2010
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Ching Chong Chinaman – Pan Asian Rep.
“The set, designed by Gian Marco Lo Forte, is ingeniously built, with trapdoors and hidden windows that enable Lin's frequent interruptions and cultural commentary”
-Backstage – Nicole Villeneuve-2010
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Ching Chong Chinaman – Pan Asian Rep.
“The production sports a delightfully imaginative set by Gian Marco Lo Forte”
nytheatre.com review- Martin Denton- 2010
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Shakuntala – George Drance, Dir. – Magis Co.
“visually appealing use of elemental stagecraft… and Gian Marco Lo Forte’s handsome, adaptable set shows the same visual care”.
-The New York Times – Rachael Saltz – 2010
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Shakuntala – George Drance, Dir. – Magis Co.
“gorgeous set utilizes the height and depth of the Ellen Stewart Theatre at La MaMa… Lo Forte's set is dynamic and beautiful: a large deep space with a decorated border on the floor, big hanging legs, some dimly lit trees that belong in a dream, and an amazingly dark background that could become transparent with lighting to provide very distant action, or disappear altogether. The distance between actors and audience in moments when depth is utilized feels epic and magical”.
nytheatre. com- Mitchell Conway-2010
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‘Tis pity she’s a whore –Toy Box Theatre Co.
“the blood red chandelier, and the picture of the heart in chains in the confession scene are a few of the nice touches worth looking for”.
-nytheatre.com- Amber Gallery-2009
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‘Tis pity she’s a whore –Toy Box Theatre Co.
“The handsome and functional set design by Gian Marco Lo Forte also deserves a nod: 'Tis a Pity... is performed in a simple, three sided black box created from one black curtain and two purple walls with black wainscoting. Two long, table-height cubes pull out from the walls for fairly quick transitions and allow for a surprising number of different set configurations. The blood-red chandelier which hangs center stage is a particularly nice touch”.
-Off-off Broadway online review- Shari Perkins 2009
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SUV: the musical – Fringe Festival
“Gian Marco Lo Forte’s minimalist and imaginative sets”.
– nytheatre.com review- 2005
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SUV: the musical – Fringe Festival
“Gian Marco Lo Forte's whimsically mammoth automobile set pieces, best utilized in a surprisingly clever scene set on a freeway, redeem the proceedings visually”
Talkingbraodway.com –Matthew Murray-2005
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The Raven- Great Jones Co.
“Stewart's production of the fairy tale is mesmerizing…when the boat nearly reaches the edge of the screen, a real boat emerges from behind and is assembled before the audience's eyes”
– off-off Broadway online –Amy Freeman - 2007
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The Interlude- Kim Ima, Dir.
“Video footage filmed of the internment camps is cast against a beautiful and complex Soji-inspired screen system (designed by Gian Marco Lo Forte) which the actors manipulate throughout the performance”.
-Off-off Broadway online review- 2005