KISS
WOOLLY MAMMOTH THEATER COMPANY
“A nod of praise needs to be addressed to Projections Designer Alexandra Kelly Colburn, however, it would be ill-suited to speak in detail to exactly why. It can be said that Colburn’s projection work is jarring, unsettling at the least, and well suited for the atmospheric feeling and overall verve of the scenes into which it is worked.”
- Amanda Gunther, Theatre Bloom
KISS
by Guillermo Calderón
Directed by Yury Urnov
Scenic and Costume Design by Misha Kachman
Associate Costume Design by Robert Croghan
Lighting Design by Max Doolittle
Sound Design by James Bigbee Garver
Projections Design by Kelly Colburn
Assistant Projections Design by Dylan Uremovich
Directed by Yury Urnov
Scenic and Costume Design by Misha Kachman
Associate Costume Design by Robert Croghan
Lighting Design by Max Doolittle
Sound Design by James Bigbee Garver
Projections Design by Kelly Colburn
Assistant Projections Design by Dylan Uremovich
design plates & storyboards.
“Suffice it to say that things get real – or at least a lot more real – via Alexandra Kelly Coburn’s newsy projections and acting that escalates into an almost anarchic key. It catapults toward fury, and the mood rubs off, in part because we’re seeing it in Washington as a presidential campaign tails off into its own absurd rings of overheated subplots. The driving quest of 'Kiss' to understand and deal with the facts of a nation gripped by chaos and racking violence implicitly and effectively calls out the reckless negligence of our own pulpy, soapy, unfathomably distracted politics. Watching the play is like being slapped awake.”
- Washington Post, Nelson Presley
“Most impressive of the designers, however, may be Alexandra Kelly Colburn who (with Kachman) has managed to create projections that strike a near-impossible balance: they are eminently readable while avoiding the addictiveness of screens that draws the eye away from human bodies onstage.”
- DC Metro Theatre Scene, Alan Katz
"Projection design by Alexandra Kelly Colburn is startling and at times, haunting. There is one occasion in particular where Colburn projects an image onto the tapestry on Hadeel’s wall. It’s easy to miss, but not easy to forget if you catch a glimpse of it. The most important projection, which changes the path of the play, is that of the video chat with an exiled woman presumed to be the play’s author. At first, the video chat feels like an interruption to the action on stage, but soon becomes the most intense piece of the play yet…"
- MD Theatre Guide, Natasha Joyce
“Projections Designer Alexandra Kelly Colburn creates a spot on imitation of a spotty Skype conversation, but also provides some critical, highly evocative images that elegantly establish the atmosphere of the Syrian civil war.”
- DC Metro Theater Arts, Michael Poandl
“… a special mention is due Lelia Tahaburt and Ahmad Kamal who appear on the other end of that crucial Skype call. That scene is made most effective by projections designer Alexandra Kelly Colburn.”
- Broadway World, Roger Catlin
- Washington Post, Nelson Presley
“Most impressive of the designers, however, may be Alexandra Kelly Colburn who (with Kachman) has managed to create projections that strike a near-impossible balance: they are eminently readable while avoiding the addictiveness of screens that draws the eye away from human bodies onstage.”
- DC Metro Theatre Scene, Alan Katz
"Projection design by Alexandra Kelly Colburn is startling and at times, haunting. There is one occasion in particular where Colburn projects an image onto the tapestry on Hadeel’s wall. It’s easy to miss, but not easy to forget if you catch a glimpse of it. The most important projection, which changes the path of the play, is that of the video chat with an exiled woman presumed to be the play’s author. At first, the video chat feels like an interruption to the action on stage, but soon becomes the most intense piece of the play yet…"
- MD Theatre Guide, Natasha Joyce
“Projections Designer Alexandra Kelly Colburn creates a spot on imitation of a spotty Skype conversation, but also provides some critical, highly evocative images that elegantly establish the atmosphere of the Syrian civil war.”
- DC Metro Theater Arts, Michael Poandl
“… a special mention is due Lelia Tahaburt and Ahmad Kamal who appear on the other end of that crucial Skype call. That scene is made most effective by projections designer Alexandra Kelly Colburn.”
- Broadway World, Roger Catlin