PRESS

"Rising Star Winner Paige Hathaway" - Ellen Lampert-Greaux, LiveDesign

"Giving a Young Set Designer her Props" - Celia Wren, The Washington Post

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

"Scenic genius Paige Hathaway winter-themed set proves yet again that she is one of the area's best designers. " -Elliot Lanes, Broadway World

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

A Chorus Line at The Muny

"Paige Hathaway’s scenic design imitates the feel of an audition room. The mirrors used throughout the production give a 360 view of the cast, but also allows the audience to truly see themselves on the stage with the performers... In the end, the show closes with chorus numbers “What I Did for Love” and “One,” and the cyclorama raises to reveal the Muny’s bare-bones backstage. We end with the true pillars of the show: the simplicity and intimacy of the set, but also the passion, the unity and the power of the chorus all coming together for their love of the stage." - Katy Przybylski, St. Louis Magazine

"Set designer Paige Hathaway gives the show an only-at-the-Muny opening, as a huge wall of mirrors reflects not only the crowd of dancers at the initial audition but us, the audience. The mirrors are covered for many scenes but return to spectacular effect for the finale (“One”) and for “The Music and the Mirror,”..." - Judith Newmark, St. Louis Post-Dispatch

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 How and the Why at Theater J

"Set designer Paige Hathaway’s evocation of Zelda’s plush university office emphasizes the early power imbalance between the characters; later, as the relationship changes, the office morphs into a bar." - Celia Wren, The Washington Post

"Paige Hathaway’s set is ingenious. The backdrop – covered with photographs of the professor’s subjects and snatches of pre-feminist poetry – is juxtaposed against a façade of 19th century brick buildings..." - Ravelle Brickman, DC Metro Theater Arts

"Director Shirley Serotsky oversees a tight production on Paige Hathaway’s handsome set with its cozy professor’s office in Act 1 and a dive-y Irish pub in Act 2. On Hathaway’s brick back wall of the stage, a collection of portraits of female ancestors of all races and ethnicities hangs as a reminder of our evolutionary diversity and a multicultural family tree of the many matriarchs who have gone through childbearing and menopause to propagate the world." - Lisa Traiger, Washington Jewish Week

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

Another Way Home at Theater J

"At a glance, the show looks purely comic: Paige Hathaway’s cabin set is built of logs and spells out “Camp Kickapoo” over the stage." - Nelson Pressley, Washington Post

"Anna Ziegler’s script threads its way between comedy and drama, shifting points of view to reveal the interior of each character. The set, by Paige Hathaway, beautifully manifests this inside-out nature, mixing interior and exterior elements..." - Joshua Engel, Theatre Bloom

"Paige Hathaway... brings to life a design that is malleable and transformative in the way that only a set for a piece of theatre can be.  The portraits of the forests juxtaposed to the faded paintings of cityscapes in Nora’s corner of the stage was a truly unique visual." - Stephanie House, Maryland Theatre Guide

"If the Nadelmans aren't having a great time at the camp, the audience sure is, thanks to the rustic set by Paige Hathaway that's so fun to look at..." - Roger Catlin, Broadway World

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

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