Pump Boys & Dinettes

“The seventh star of the StageWest production is set designer Peter Kallok, whose gas station office/diner was an artfully conceived, cluttered wonder to behold.”

–Tony Angarano, Hartford Courant

Other People’s Money

“As one development follows another, the action switches from Rhode Island to New York, and back. The set, designed by Peter Kallok, works perfectly with an upper tier at the back of the stage holding Garfinkle’s sleek office while the front of the stage contains the worn file cabinets, desks, and meeting table of the Rhode Island factory offices. Large panels at the rear of the stage, which are weirdly lit, and electronic music adds a surreal touch.”

–Richard Tambling, Journal Inquirer

Sea Marks

“The play begins as a sort of British Isles “Love Letters,” with Colm in his whitewashed hut of sod and Timothea in her comfortable Liverpool digs. Then the elaborate set by Peter Kallok pivots to fill the stage with Timothea’s roomy flat, with its bed raised on a dais.”

–Malcolm L. Johnson, Hartford Courant

“In their separate abodes (the stage is so aptly set by Peter Kallok), Colm, and Timothea responds to one another—by letter. Later, obviously, they meet one another. Correspondingly the stage revolves to reveal a full-view of Timothea’s apartment. Before we had seen but a kitchen, now, we find a fireplace and, more keenly, a double bed…Supplementing and complementing the performers are the Stage West design crew. Kallok’s set, already mentioned, is most appropriate.”

–Fred Sokol, Springfield Union News

“The opening scenes are set in their two rooms, on opposite sides of the stage, his a stone cottage sooty from a peat fire, hers a neat, cozy bed-sitter in a Victorian house. (David A. Strang’s effective lighting warms Timothea’s kitchen and makes Colm’s fireside as bleak as the rocky coast, and later Peter Kallok’s clever setting turntables to reveal the rest of Timothea’s flat).”

–Chris Rohmann, The Springfield Advocate

“Aided by Peter Kallok’s exquisite sets, Polly Byer’s first-rate costumes, and David Strang’s rich lighting and sound design, Towers (the director) brings Sea Marks to life.”

–Mark Auerbach, 640 WNNZ

Greater Tuna

“The incidental music (bluegrass-gospel and western swing) and Peter Kallok’s clever setting—the proscenium is an old-fashioned radio set, the backdrop a collage of faded advertising signs—set the scene and the mood: a town in which neither the billboards nor the citizens’ minds have been changed in 40 years.”

–Chris Rohmann, The Springfield Advocate