“DeAnne Millais’s Technicolor-hued island nightclub set, Linda Muggeridge’s imaginatively offbeat early-‘60s costumes, and Matt Richter’s zesty lighting design make A Harmony Boys Christmas: Live From Waikiki Beach look like $123,320. (That’s a cool million in 2018.)”

“...the set by DeAnne Millais is truly stunning and worth the price of admission alone...”

“...The creative team has done some impressive work here. DeAnne Millais’ polished scenic design features open wooden panels, a curved staircase, and some highly effective scene painting (by Joyce Hutter) to bring the Elizabethan era’s stone and bone to life. A cabinet of skulls does double duty stage left while a fabric panel hanging stage right makes tapestry changes via Ben Rock’s rich video projections to further enhance locations. Gorgeous costumes by Linda Muggeridge look expensive under Andrew Schmedake’s saturated lighting design.”

“And special mention must be made of the incredible - and quite large - set that was constructed for the piece, much bigger than I expected given that there are only two people in the entire thing. Re-Animator’s set (at a different theater) was pretty compact, but this looks like it could be re-purposed for a sitcom: there’s an office area, a big kitchen, and a dining/living room, plus a door off to the (unseen) bathroom. And it’s decked out with impressive decor, some of the items to be used for the narrative, others just fleshing out Terry’s character a bit for those who want to look around (there’s also a fun in-joke for Gordon’s fans on the DVD shelf - keep your eyes peeled!).”

“Along with the four amazing star performers, kudos go to scenic and props designer DeAnne Millais for her incredibly detailed dual sided-set, decorated with aging books, religious artifacts, various photos and items most fathers would surround themselves with while working in a home office.”

“Corwin Evans’ superb projection design and Andrew Schmedake’s lighting impart an alluring intimacy to the collage of paintings featured throughout. The set design by DeAnne Millais is simple but effective, allowing audience viewing from opposite sides, while Linda Muggeridge provides a stylish assortment of costumes.”

“I’ve been doing Escape Rooms for about two years now. [Escape Room LA’s] the Cavern has remained one of my top 5 rooms...Until now! I believe it has been bumped out by the same company’s newest offerings, the Alchemist and the Theatre. Suffice to say, Escape Room LA has outdone themselves yet again.”

“A lot of credit is owed to the music from Van Hughes and the production design DeAnne Millais. Hughes plays a pitch perfect score that encapsulates the 8 bit feel the movie is striving for, creating nerve-wracking and tension building moments with chiptunes. Millais proves you don’t need a big budget or fancy set to make a world feel unique and lived in, working with little but being able to deliver a full experience in an encapsulated setting.”

“[Director] Robledo, an ensemble of Sacred Fools all-stars, and a crack production design team (including DeAnne Millais’ set, Matt Richter’s lights, Anthony Backman’s projections and Jim Pierce’s animation) pump up Power’s text into a kind of high-wire — and highly polished — vaudevillian pastiche.”

“DeAnne Millais’ set effectively transports the audience between the insurgent camp and the Pro Consul office, while director and sound designer, Ben Rock, wisely chooses an invigorating hip-hop soundtrack to keep the energy charged in transitions”

“Director Ben Rock assembles a typically cutting-edge Sacred Fools design team, particularly Matt Richter’s lighting and DeAnne Millais’ evocative set”

“…the artistic and technical crews complement one another seamlessly in serving the story. The carcasses of discarded computers, each once the top of the technological heap, lie in the public and playing spaces. Video screens and dark, static-filled projections convincingly allow the characters to be poke, prod, and investigate one another and to quickly snap the audience’s attention from one location to the next with a simple turn of the head. The excellent choreography of actors, stagehands, and crew sustains the needed illusions through split-second timing….Coherent visuals, sound, and design language – typical of Theatre Movement Bazaar, City Garage, and the late, lamented Collective – make or break works like this and could not have been easy.”

“Jaime Robledo’s inventively cinematic staging (on DeAnne Millais’ computer-detritus set) and an unusually fine ensemble capture all the nuanced terms of Dick’s allegory.”

“In clever Fool-ish style, beautifully inaugurating the prolific company’s new home at the Lillian, James and Delilah’s sadly claustrophobic little home workroom is brought to glorious life by DeAnne Millais’s whimsically cramped set, impressively complemented by propmistress Lisa Anne Nicolai’s massive collections of candles brought home from Delilah’s part-time job at the mall, as well as the kind of other kitsch sold in the pages of TV Guide, and, of course, piles and piles of lonely-looking ceramic unicorns.”

“Caught Darkly Dreaming, the Sacred Fools 17th season launch and summer fundraiser, was a raucous night of DJ Shok music, dancing and Carnival, opening with a bang featuring a Vegas style Wheel of Vagaries, Interactive Art Installations of Wish Tags and Chalk Walls (I successfully made my deepest fear go away by writing it on the wall), Two Bit Circus Gaming, Dream Readings, Glitter Tattoos, Tea Leaf readings, Taste Tests, Roller Skating Girls and the ultimate Text to Give to reach their goal by midnight.”

“DeAnne Millais’s oh-so-ingenious set design features a row of sliding panels manipulated by a pair of “Ninjas” (Pierce Baird and Dan Wingard) doing virtually nonstop work moving on-and-offstage set pieces as large as a hospital bed and as small as a bedside lamp, in what may well be the tech-heaviest intimate theater play of the year”