PAIGE HATHAWAY
PRESS
"Rising Star Winner Paige Hathaway" - Ellen Lampert-Greaux, LiveDesign
"Giving a Young Set Designer her Props" - Celia Wren, The Washington Post
A New Brain at Barrington Stage
New York Time's Critic's Pick -
“As a constant reminder of the medical crisis, agiant, stylized, light-up diagram of the brain, by scenic designer PaigeHathaway, dominates the back of the set. It is a remarkable achievement of design andconstruction.” - Steve Barnes, Times Union
“Director Joe Calarco has taken Finn’s show to new heightsaided by Vadim Feichtner directing a fine otochestra. It is impossible to lookaway from the stage for even a moment. He has engaged his company and they, inturn, engage us to the utmost. Set Designer Paige Hathaway has used the stagedynamically.” - J Peter Bergman, Berkshire Bright Focus
"Scenic designer Paige Hathaway creates an impressive backdrop used in most of the scenes: a huge, stylized cross-section of a brain, illuminated in various color patterns by lighting designer Jason Lyons. (Hathaway also achieves some nifty prop tricks, like the transformation of a white hospital-room curtain into the mainsail of Roger’s sail boat)." - Dan Dwyer, The Berkshire Edge
A Distinct Society at Writer's Theatre
“On a production level, scenic designer Paige Hathawaydeserves applause for creating a library setting so detailed and lifelike youcan almost hear an echoing shush. The set is dominated by a gigantic mountedmoose head, lending a humorous visual grace note to an otherwise fairlyheavy-handed show. “ - Hugh Iglarsh, New City Stage
“The Haskell libraryis as much a character in ADistinct Society as the humans whose complex motivations andhistories play out on scenic designer Paige Hathaway’s gorgeous enclave ofburnished wood and stacked shelves.” - Catey Sullivan, Chicago Reader
“Iwas thoroughly impressed by Paige Hathaway’s set, which immerses us in alibrary that quite resembles online photos of Haskell, and more than impressedwhen elements of that set changed seemingly by magic." - Karen Topham, Chicago Onstage
The High Ground at Arena Stage
"Paige Hathaway’s set is dominated by an imposing brick tower that crowns the hill, emblazoned with the logo of the Tulsa campus of Oklahoma State University — a symbol, in a sense, of White institutional erasure of Black-owned land and Black history." - Peter Marks, Washington Post
“…with a simple yet striking set designed by Paige Hathaway. Hathway's set is the sweet spot of scenic design. Serving as both metaphorical and aesthetically pleasing, it's a perfect compliment to the proceedings. “ - Jake Bridges, Broadway World
“Also at the heart of this play is Standpipe Hill—a key site in the Tulsa Race Massacre. Set design by Paige Hathaway certainly does the historic locale justice while smartly utilizing the expansive space of the Kogod Cradle at Arena Stage.” - Anne Valentino, MD Theatre Guide
No Place to Go at Signature Theatre
"Under director Matthew Gardiner, who has reimagined this lounge show as something more theatrical, “No Place to Go” unfolds in scenic designer Paige Hathaway’s instantly identifiable office drone habitat. The set comes complete with AstroTurf-green carpeting, wood-paneling and a bulky copy machine, though there’s more to the design than meets the eye. Max Doolittle’s lighting accentuates the difference between George’s sobering storytelling and his musical tangents, as fluorescent lights give way to pops of green on brassy interludes about that last sandwich in the conference room and striking strobe lights liven one rip-roaring number." - Thomas Floyd, The Washington Post
"Paige Hathaway's set is smartly lit by Max Doolittle. Fake-wood paneling and sickly green stain-camouflaging carpet are lit by soul-sucking fluorescent lights with a tease of warm natural sunshine seductively hidden behind the vertical blinds. During the songs, however, all that becomes a flashing disco-strobed multicolored alternative universe." - Alexander C Kafka, Broadway World
Rent at Signature Theatre
"In Set Designer Paige Hathaway’s masterly immersive world, we’re all pushed out on the street, outside abandoned tenements, forced to rub up against each other and form uneasy alliances and open ourselves to new life experiences, perspectives, and identities." -Susan Galbraith, DC Metro Theatre Arts
"Paige Hathaway has configured the Max Theatre... for seating in the round, giving audiences a not-quite immersive feel to the performance. With signs of the times hanging all around the balcony edges, overlooking the stage... the gritty reality of 1990’s alphabet city in Manhattan is palpable. ... Graffiti tagged on the floors and on the doors mingle with the industrial grime of the overall atmospheric verve Hathaway has created for this production." Amanda N Gunther, Theatre Bloom
"The tastefully grungy stage, cutting through the center of the audience, immerses as the eight main characters fall in and out of friendships, love, and life." - Charlotte Selton, Maryland Theatre Guide
Right to be Forgotten at Arena Stage
"Paige Hathaway’s set design, a minimalist architecture of white squares, rectangles, and cubes that contrast to the basket-weave back wall of Arena’s Kogod Cradle, provides a glorious set of surfaces, both flat and curved, for Shawn Duan’s projections."- Ian Thal, Washington City Paper
"Paige Hathaway’s set expresses a clean, minimalist Apple Store esthetic, all definitive black and white squares and rectangles, not a gray area or comforting curvilinear element in sight. " - Bob Ashby, DC Metro Theatre Arts
"Paige Hathaway's set is minimalistic and versatile, providing the perfect background for Shawn Duan's incredible projections; the use of binary projections on the set and cyrons to move the plot was thematically fitting and visually impressive." -Rachael Goldberg, Broadway World
Escaped Alone at Signature Theatre
"The entirety of the design team is female, too, with set designer Paige Hathaway constructing a smart, verdant suburban patio and costume designer Alison Samantha Johnson outfitting the actresses in dandy bourgeois style." - Peter Marks, Washington Post
"Scenic designer Paige Hathaway creates a lovely garden with purple morning glories growing over the fence, and white hydrangeas at the rear of the stage. " - Barbara Mackay, DC Metro Theater Arts
"Like the performances of the cast, Signature Theatre's production is beautifully done. The set, designed by Paige Hathaway, is a simple yet elegant British garden. The realism of the garden provides stability. A white curtain is used to divide Ms. Jarrett and the audience from the realism of the garden. It is again simple, but effective as it creates a separation between the worlds. " - Hannah Wing, Broadway World
School Girls; Or, the African Mean Girls Play at Round House Theatre
"Paige Hathaway’s design for the school cafeteria and Ivania Stack’s prom-style dresses for the auditions fittingly enhance the play’s exuberance — all in service of an excitement that fills a refreshed space with a freshness of talent." - Peter Marks, Washington Post
"Set in a girl’s boarding school in Ghana in 1986, the action unfolds in that most storied of high school proving grounds — the lunch room. Rendered by the consistently excellent Paige Hathaway, it’s a simple, high-ceilinged structure painted with splashes of bright blue and pink and filled with serviceable wooden tables." - Patrick Folliard, Washington Blade
"All of the gossipy, girly action in School Girls takes place in the cafeteria, an appealing, bright and airy space with pastel-washed concrete walls, high ceiling fans, and picnic-style tables and benches by Scenic Designer Paige Hathaway. " - Ramona Harper, DC Metro Theater Arts
A Doll's House, Part 2 at Round House Theatre
"The set by Paige Hathaway intriguingly suggests a household that has atrophied in Nora’s absence: Banker Torvald’s parlor looks emptied of personality, with paintings and picture frames and lighting fixtures haphazardly propped against walls, as if ready for the movers." - Peter Marks, Washington Post
"Paige Hathaway's set is not so much aged, as it is unkempt. With furniture askew, it is clear he hasn't bothered to redecorate since Nora left. Still the juxtaposition between the play's contemporary language, late 18th century locale, and disheveled living room setting remind us that despite the passage of time, Nora's search for identity is still ongoing and so is the search for universal equality." - Benjamin Tomchick, Broadway World
"Indeed the impeccable direction (Nicole A. Watson), the inspired design ... , and the four starring performances ... comprise one of those thrilling peak experiences in theater that one remembers for years after." - John Stoltenberg, DC Metro Theater Arts
Ain't Misbehavin' at Signature Theatre
"Director Joe Calarco’s production creates a cozy, old-time nightclub frame, with set designer Paige Hathaway’s enveloping vaudeville lights and plush red cushioned walls." -Nelson Pressley, Washington Post
"Scenic designer Paige Hathaway has turned Signature into a lively Harlem speakeasy, with a corkscrew stairway and some “dressing rooms” on the sides for the cast to flirt, rib their costars, or prepare for their entrances on numbers in which they aren’t center stage." -Alexander C. Kafka, DC Theatre Scene
"Calarco and scenic designer Paige Hathaway have configured the theater to create a ’30s night club feeling, with cocktail tables close to the stage, a mural over the stage suggesting the Harlem of that era, and theater-style light bulbs not only around the stage but the sides of the auditorium as well. ... a flawless technical production..." Bob Ashby, DC Metro Theater Arts
Talley's Folly at Theater J
"Set designer Paige Hathaway gives them a gorgeous, detailed ring in which to duke it out on GALA’s handsome stage... The design, lit softly by Jesse Belsky, packs in the lyricism that Wilson’s semi-cynical play flirts with and subverts, with that giant moon illuminating a boathouse so dilapidated that river grass pokes up through the floorboards. It’s the kind of place where two people could fall in love..." - Nelson Pressley, Washington Post
"One of the finest things about this production is the extraordinary set by Scenic Designer Paige Hathaway... No detail is missed- everything in the boathouse has a soft, used, elderly feel about it... never has dilapidated looked so beautiful." -Jill Kyle-Kieth, DC Theatre Scene
"Paige Hathaway's gorgeously detailed set is nearly a character itself. Tumbling into decay, the once-excessive boathouse gazebo is both beautiful and dangerous. " -Pamela Roberts, Broadway World
Cinderella at Imagination Stage
"The whole thing is delightfully silly, full of whimsy and magic... When you enter the house you’re greeted by hundreds of yellow fairy lights, surrounded by a sea of blue and a cozy-looking cottage under a proscenium that looks like a forest"- Emily Gilson, DC Metro Theater Arts
"Visually, the show is a veritable Wonderland, with a simply gorgeous blue, white and purple set by Scenic Designer Paige Hathaway, and an assuring abundance of crystal chandeliers. With its birch trees, pale lighting, and stalactites and icicle lights dripping from the ceiling, it’s reminiscent of something out of Frozen- even Cinderella’s cottage has a charming dacha-like design, with white fretwork and snow on the roof." - Jill Kyle-Kieth, DC Theatre Scene
How I Learned to Drive at Round House Theatre
"...a big show with the scale of Greek drama — it looks like it’s on the steps of a temple — coolly played with tragic inevitability. The formality gives us the distance we need to digest this horror... Paige Hathaway’s white-floored set emphasizes the size of the Round House stage by keeping it largely empty... it seems right that “Drive” is on a stage that feels like a timeless public square." -Nelson Pressley, Washington Post
"Scenic Designer Paige Hathaway adroitly uses the exceptional width of the Round House stage to best effect. A single broad neon band of light spans the stage, suggesting an open road but without a hint of destination." - Amy Kotkin, DC Metro Theater Arts
John at Signature Theatre
"Paige Hathaway’s set is intensely decorated with knickknacks and dolls that even line the staircase to the second floor; the shadows thrown by Andrew Cissna’s lights are particularly artful." -Nelson Pressley, Washington Post
"Paige Hathaway’s scenic design was peerless. Rarely have I seen such an entrancing and superbly designed set." -David Friscic, DC Metro Theater Arts
"There isn’t praise enough for Paige Hathaway’s stunning set — an evocation that is by turns gloomy, homey, creepy and comical. Not a detail nor an opportunity has been missed in suggesting these slightly eccentric, slightly mysterious accommodations and all that they connote." -Kate Wingfield, Metro Weekly
"Scenic designer Paige Hathaway has made impeccable choices to frame John–including dozens upon dozens of dolls... The detailed set and the dolls and the kitsch refreshed me..." -David Siegel, DC Metro Theater Arts
Becoming Dr. Ruth at Theater J
"The set for Holly Twyford’s production is, in fact, a mountain of white packing boxes. This gives Jacobson lots to do as she climbs high to grab keepsakes or swings open small doors to reveal a dollhouse-size interiors. " -Nelson Pressley, Washington Post
"The set design centers around a whimsical stacking of white boxes of different shapes and sizes designed by scenic designer par excellence Paige Hathaway... It would be unfair to say too much other than some of the boxes became a second character for Jacobson to interact with as she opens some, walks on others and teeters, reaching for things that matter. The set of plain white boxes are far from static, but bloom into breathing objects with memories." -David Siegel, DC Metro Theater Arts
"The visually pleasing stage (set designer Paige Hathaway) is piled high with boxes, which Jacobson precariously climbs. Some of them are filled with detailed dioramas of her past life, others with heirlooms and photos. " - Barbara Johnson, Broadway World
Familiar at Woolly Mammoth
"Minnesota is the setting, and the comfortable two-story home designed by Paige Hathaway looks like the sort of staid suburban milieu Woolly likes to blow up or burn down." -Nelson Pressley, Washington Post
"The storytelling starts with Set Designer Paige Hathaway’s eye-filling two-level interior of a middle-upper-class home, tastefully decorated in white and beige. It’s like a whitewashed canvas awaiting bold strokes of color (which the play more than delivers). The home belongs to a sixty-something married couple... from Zimbabwe, but there is not a hint of Africa in the decor. There are however icicles hanging from the exposed roof and frost on the windowpanes, as it’s subzero Minnesota winter. The look is coolly assimilationist, Architectural Digest style." -John Stoltenberg, DC Metro Theater Arts
"It’s tough not to rave about Paige Hathaway’s set — here’s a living room fait accompli. My Minnesota-raised theatre companion commented: “I’ve been in that house.”" -Tristan Lejeune, Brightest Young Things
The Book of Will at Round House Theatre
"Another draw is Paige Hathaway’s expansive set, strongly evocative of the Globe Theatre and rich with details like smoke-stains around the candle sconces..." - John Geoffrion, DC Theatre Scene
"Paige Hathaway’s 2-tiered scenic design enables us transition with lightning speed between Heminges’ alehouse and the private chambers of assorted characters, as well as the cramped office of the Globe, where we encounter the harried copying staff." - Andrew White, MD Theatre Guide
"The technical elements - most notably Paige Hathaway's exquisitely detailed scenic design, Kasey Hendricks' prop design, Kendra Rai's period-appropriate costumes, and Matthew M. Nielson's memorable sound design/compositions - are also first-rate, and contribute to the success of the production in a real way." - Jennifer Perry, Broadway World
"The production team, led by Scenic Designer Paige Hathaway, does an excellent job creating the play’s sprawling Elizabethan world." - Robert Michael Oliver, DC Metro Theatre Arts
Or, at Round House Theatre
"Posner’s show is rewardingly savvy at every turn, not least in Paige A. Hathaway’s set for Behn’s subtly hip apartment. Look closely at Behn’s wide, jampacked red room, vaguely like a dorm, and you’ll see scattered relics of the 1960s ... Even more critically, Hathaway pushes the set forward and wraps it around the actors, framing them smartly on what can be a too-open stage at Round House." -Nelson Pressley, Washington Post
"Kudos galore are for the artistic design team with scenic designer Paige Hathaway fabricating a cluttered, lived-in setting appropriate for the keen minds at work." - David Siegel, DC Metro Theater Arts
"...a funky, artfully cluttered artist’s loft. Scenic designer Paige Hathaway and lighting designer Thom Weaver evoke Baz Lurhmann with a red-tinged assortment of worn chaise lounges and all manner of capes, masks, and costumes, watched over by a grand picture window. Hathaway’s set offers a romantic ode to the artist’s life... " - Ben Demers, DC Theatre Scene
"...the production looks beautiful: Paige Hathaway's lived-in-looking set, furnished with rich woodwork, crowded bookshelves, and piles of cushions on the floor..." - Susan Berlin, Talkin' Broadway
The Gulf at Signature Theatre
"“The Gulf” finds a pleasing home in Signature’s second space, the Ark, whose in-the-round seating for the occasion places the audience along an imaginary shoreline and designer Paige Hathaway’s see-though rendering of Kendra’s fishing skiff out on the water... smartly, the boat rotates languidly so that our perspective on the women is in flux." - Peter Marks, Washington Post
"The third star of The Gulf is Paige Hathaway’s gorgeous set, evoking the shallow waters in which Betty and Kendra find themselves stuck. The skeletal boat in which the two actors spend a vast majority of the play’s 90 minutes is a compact wonder, expertly designed to allow full view for the entire audience in the Arc’s in-the-round configuration." - Ryan Taylor, DC Theatre Scene
"Paige Hathaway has created an ingenious scenic design that places the skeletal boat in the center... the undulating forms in the floor, the ceiling (where they drip with Spanish moss), and the walls behind the audience suggest the constant motion of the water, illuminated by flickering lights in jars on the floor." - Susan Berlin, Talkin' Broadway
"Scenic Designer Paige Hathaway captures the epitome of this locale ... the world of this southern swampland in a vein of reality... the world of the play becomes a living breathing third character which interacts with the two characters as much as they interact with themselves." - Amanda N. Gunther, Theatre Bloom
The Pillowman at Forum Theatre
"The set, designed by Paige Hathaway, sounds an intriguingly ominous note right from the start." -Celia Wren, The Washington Post
"Paige Hathaway on The Pillowman's freaky, strange set"- Alan Katz, DC Theatre Scene
"... terrifically eerie production design. Forum's black box theatre has been turned into one giant detention room courtesy of Set Designer Paige Hathaway." - Benjamin Tomchik, Broadway World
"This strange, evocative and completely non-naturalistic setup... creates a sense that the whole thing is a circus, a kangaroo court meant more as entertainment for the masses than as a legitimate investigative proceeding..." - Michael Poandl, DC Metro Theater Arts
"The quite inventive three quarter framed stage by Scenic Designer Paige Hathaway created a scenario in which the actors stayed confined... [or] floated out in other ethereal sequences, letting the audience join in that particular dream—or nightmare." - Brian Bochicchio, Maryland Theatre Guide
Rosencrantz & Guildenstern are Dead at the Folger Theatre
"Paige Hathaway’s set makes a great attic of the Folger’s Elizabethan stage... ideal for the play’s waiting-in-the-wings quality" - Nelson Pressley, Washington Post
"In the Moment: A Chat with Director Aaron Posner and Scenic/Properties Designer Paige Hathaway" - David Siegel, DC Metro Theater Arts
“Magically cluttered and climbable, Paige Hathaway’s set is filled with an intriguing jumble… A flight of a dusty, dark imagination, it all blends seamlessly with the Folger Theatre’s medieval chapel vibe…” -Kate Wingfield, Metro Weekly
"An epically cluttered two-story set ... [the] creative team have ... breathed life into a classic" - Ital Yasur, Broadway World
