Skullduggery

Nominated: BroadwayWorld Los Angeles Award for Best Scenic Design

Coming in to the Sacred Fools’ theatre the audience is immediately impressed by the shadowy and artful set of DeAnne Millais, which serves as an inkling of things to come...

It is top to bottom a beautiful production that shows L.A. equity stage at its very best.
— Ernest Kearney / © 2016 The TVolution
The Scenic Design by DeAnne Millais and the costumes by Linda Mudderidge bring character and a sense of reality to the incredible story...

It’s a Broadway worthy production right here in our own backyard.
— Peter Foldy / © 2016 Hollywood Revealed
...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.
— Ellen Dostal / © 2016 Shakespeare in LA

Sequence Break

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.
— Ryan Larson / © 2017 Diabolique Magazine

Astro Boy and the God of Comics

[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.
— Bill Raden / © 2015 L.A. Weekly

Occupation

Director Ben Rock assembles a typically cutting-edge Sacred Fools design team, particularly Matt Richter’s lighting and DeAnne Millais’ evocative set
— David C. Nichols / © 2015 Los Angeles Times
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
— Jessica Salans / © 2015 Stage Raw (PICK OF THE WEEK!)

Escape Room LA: The Theatre

  • Named by Forbes as one of the Best Escape Rooms in Los Angeles!  (via David Hochman / © 2016 Forbes)
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.
— Ryan S. Davis / © 2015 Media Geeks

Taste

  • Winner: Stage Raw Award for Best Set Design
  • Nominated: Ovation Award for Best Set Design (Intimate Theater)
…DeAnne Millais’ stunningly-detailed and expensive-looking scenic design — complete with a well-equipped, working kitchen — helps us form a strong impression of the character who inhabits this luxe dwelling, even before the play commences.
— Pauline Adamek / © 2014 Stage Raw
Right off the bat DeAnne Millais’ set design and Matt Richter’s lighting makes us feel like a fly on the wall. It’s an unnerving intimate affect that is coupled by the actual delicious smells from the kitchen. If one looks very carefully they can catch wonderful nuances shouting out to the audience regarding the intentions of the play and a slight nod to its creative team (check out Terry’s DVD collection). Even the costume design proves to be telegraphing a message with a glimpse into these very complex characters.
— Ray Schillaci / © 2014 The Movie Guys
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!).
— Brian Collins / © 2014 Badass Digest

Do Androids Dream of Electric Sheep?

  • Nominated: LA Weekly Theater Award for Best Set Design
  • Nominated: LA Weekly Theater Award for Best Production Design

 

…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.
— Ravi Narasimhan / © 2013 Backscatter
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.
— Bill Raden / © 2013 L.A. Weekly (PICK OF THE WEEK!)

Past Time

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.
— Travis Holder / © 2016 Arts in LA
Transpiring in winking chapters projected atop the rainbow-hued proscenium of designer DeAnne Millais’ whimsical set...
— David C. Nichols / © 2016 L.A. Times
As for Past Time’s production design, DeAnne Millais’ colorfully cluttered set makes terrific use of a smartly reconfigured Lillian Theatre.
— Steven Stanley / © 2016 StageScene L.A.

Caught Darkly Dreaming

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.
— Tracey Paleo / © 2013 Gia on the Move

Hearts Like Fists

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
— Steven Stanley / © 2012 StageSceneLA.com