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Staunton, Virginia, News Leader Article regarding the set designer |
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“The set. . . was of a quality that I have seen at small regional theatres or universities with professional staff and/or graduate students responsible for construction. The fact that this magnificent set was built by undergraduate students at a small university with fewer than 800 students is an extraordinary achievement. “ - From the Kennedy Center American College Theatre festival Adjudication |
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“It is no accident that David Dwyer’s set design for Tartuffe incorporates dramatic, gilded picture frames that stretch from the stage to the Live Arts balcony. Like the title character of Molière’s play, the frames are attractive on the outside and empty on the inside. They are bloated, eye-grabbing symbols of hypocrisy, so it makes sense that Tartuffe should gesticulate in their figurative shadow. “
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“David Dwyer's spare set works very well.” -Speakupwny.com -March 30th, 2012 |
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“I was very impressed with the transformation of the space into a very impressive performance environment. The inclusion of fire, water, air, and earth were particularly effective. Again the demands of the production values and the commitment to their execution by a small program was very impressive. Clearly the director and designers had communicated and collaborated to accomplish an integrated production.” – Joel Williams, Kennedy Center American College Theatre Festival Respondent. |
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“The set is remarkable, using lighting to emphasize the scene's mood. In particular, they used a projection of the moon to make the nights more romantic for clandestine wooing. The stage itself is built to feel grand and lofty while also allowing for the action to take place fluidly across the stage and even the audience. “- The Newark Advocate—June 2, 2012 |
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Dirty Rotten Scoundrels Weathervane Theatre |
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A Midsummer Night’s Dream Niagara University Theatre |
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Trojan Women Southern Virginia University |
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The Grandchildren of the Buffalo Soldiers Smithsonian, National Museum of the American Indian |
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The Conversion of Ka’Ahumanu Smithsonian, National Museum of the American Indian |
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Dancing at Lughnasa Southern Virginia University |
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Tartuffe LiveArts Theatre |
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Fallen Angels Irish Classical Theatre Company |
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“The technical features of Fallen Angels match its sharp performance. Both ladies look like they could have walked out of a 20’s catalogue, classically gorgeous, thanks to the acute costume and make-up design by Dixon Reynolds (and their heavenly-graced genes). The set, designed by David Dwyer, is also stylistic and smart. - Theatre Review: ‘Fallen Angels’ at Irish Classical Theatre by Marisa Caruso. June 11, 2014. |
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The Liar Irish Classical Theatre Company |
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“The Irish Classical Theatre’s wonderful production of The Liar, expertly directed by Fortunato Pezzimenti, employing a simple set of green blocks and pyramids by David Dwyer. For scene changes Pezzimenti smartly directs the cast to simply shift similar set pieces (giant cones and boxes) such that despite the constant lateral movements, in homage to the vertically challenged Sisyphus, everything remains the same, a clever physical and psychological twist.” - Buffalo, New York's Irish Classical Theater - a gem & this is no lie!, Trip Advisor.com -Reviewed October 16, 2014 by Mike Keenan |
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From Fortunato Pezzimenti’s thoughtful and effective direction to the small cast’s touching, funny, and nuanced performances, this production of Outside Mullingar understands and does not overplay this subtle, realistic dynamic. The creative combination of David Dwyer’s cozy farmhouse set design, Brian Cavanagh’s soft, intimate lighting, and Tom Makar’s stormy Irish-folk infused sound design perfectly set the play in modern-day Ireland, matching well with the working class markers of Susan Drozd’s simple hair and makeup design and Jessica Wegrzyn’s purposefully drab costuming. "Outside Mullingar" - New York Theatre Guide by Dianne Gebauer, nytheatreguide.com |
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“Set Designer David Dwyer, has converted the arena setting of the Andrews Theatre into a deep thrust in order to lend the space the more traditional feel, compatible with a naturalistic piece. He has devised a grand and convincing kitchen, the perpetual off-stage life of a privileged family we never see—except through the unwelcome visitation of Miss Julie. “ Anthony Chase “Strindberg Redux” Artvoice, March 5, 2015
“David Dwyer’s set removes the Andrews’ southern fourth wall of seats and replaces with it a simple, convincing set that used to stop you in your tracks at Studio Arena. This stage has never felt bigger, and yet with more things. His hanging pendant lights, utilized breathlessly in Brian Cavanagh’s design, are some of the fine details that italicize this largely exquisite production.” A juicy "After Miss Julie" turns up the heat in Andrews Theatre by Ben Siegel, The Buffalo News |
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After Miss Julie Irish Classical Theatre Company |
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A Woman of No Importance Irish Classical Theatre Company |
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“Josephine Hogan’s production of Oscar Wilde’s A Woman of No Importance is delightfully satisfying on so many levels. Her steady directorial hand has guided the company through Wilde’s epigram-packed script, from witticism to witticism, with an even pace, fueled by emotional suspense. Moreover, she has used the circular space of the Andrews Theatre, an insurmountable challenge for many a director, with fluidity and style, creating an ever-evolving range of stage pictures that heighten the drama within a handsome setting by David Dwyer.” - A Woman of No Importance by Anthony Chase. January, 2014. |
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South Pacific Lancaster Opera House |
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Outside Mulligar Irish Classical Theatre Company |
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Where the production shines brightest through the gloom is in its haunting design, featuring graceful human-horse hybrids that act out the boy's self-devised rituals according to Gerry Trentham's excellent choreography. David Dwyer's set, with a floor of wooden planks and a floating crown of jagged boards suggesting the outline of a stable, blurs beautifully the boundaries between Martin's dank office and his patient's tortured memory. By Colin Dabkowski “Despite creaks, Irish Classical's 'Equus' remains jarring” The Buffalo News, October 29, 2016
“Oliver's imaginative staging was complemented by David Dwyer's highly effective turntable set.” -Michael Rabice, Stellar Cast Delves in Drama of "Equus" broadwayworld.com
“David Dwyer’s staging is very realistic with rough wooden planks that you might find in part of a stable, and in the middle a large turntable which helps when presenting theater in the round.” -Peter Hall, “Strong cast revives EQUUS” Buffallo Rising. |
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“Rarely is a set worth mentioning before the acting performances, but David Dwyer’s design and construction work demands it. Considering the most recent, highly acclaimed “South Pacific” revival (broadcast on PBS) at Lincoln Center set the design bar VERY high for any subsequent production, Dwyer nailed the necessary color palate and atmosphere for the show in the incredibly limited Opera House space. Coupled with Nicholas Quinn’s saturated lighting design, the show is visually top-notch. “ -BY BUFFALO THEATRE GUIDE ON NOVEMBER 12, 2017 |
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Equus Irish Classical Theatre Company |
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Sight Unseen Jewish Reperatory Theatre |
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“Of course, any good production needs good bones and the set by David Dwyer, while spare, has just what it needs and no more, not unlike a piece of modern art. “ -peter hall , Buffalorising.com, 2018 |
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King Lear Shakespeare in Delaware Park |
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“Vaughn set the play in a placeless place and a timeless time of ritual and tribalism, where no metal exists and the manmade world consists only of wood, stone and sun-bleached bones of animals long ago dispatched. Set designer David Dwyer has brought this vision to life with a wonderfully organic set, replete with raw wood fencing, decorative barren trees with spindly branches and structures of great logs and rough-edged stone. “ - Colin Dabkowski, The Buffalo News, June 22, 2018. |
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Tally’s Folly Jewish Reperatory Theatre |
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“ “Talley’s Folly,” now on stage at Jewish Repertory Theater in a remarkable production. It is anchored by impeccable, cohesive design, from David Dwyer’s aged set, to Tom Makar’s hazy soundscape, to Brian Cavanaugh’s rippling pastel lighting. These elements play a significant role in the play's larger theme, and look sharp while doing so.” -Ben Siegal, The Buffalo News February 8, 2019 |
