Press
Peter Pan And Wendy
“In terms of the design, the standout is Klyph Stanford's innovative scenic design and projections. They allow the nursery to become Neverland with only a few small largely unexpected shifts highlighting the proximity between Wendy's real world and the fantasy one she inhabits for a short time.”
Jennifer Perry, DC.BroadwayWorld.com
9 Circles
“Klyph Stanford has done a tremendous job of creating a simple, symbolic space, anchored by an upturned rifle, concentric circles, and a bare minimum of set pieces, with above-stage projections that are as discreet as they are haunting. It is an actor's paradise and one that allows audiences to focus on the people instead of the gadgetry.”
DC.BroadwayWorld.com
Klyph Stanford’s streamlined scenic design acknowledges the play’s intellectual approach. When we take our seats, we find ourselves looking at reflections of the circle motif: arc-shaped benches set inside a prison cell’s arc-shaped bars. Downstage, a helmet mounted on an inverted rifle recalls a battlefield tribute to a fallen soldier.
Projected onto the wall above the cell at the start of each scene, rubrics tie the proceedings to Reeves’s descent through the nine stages of hell.
Celia Wren, The Washington Post
Josephine Tonight
“It moves marvelously courtesy of smart staging, especially scenic designer Klyph Stanford's success in projecting images and patterns on sheer curtains evoking different times and places.”
Doug Rule. Metro Weekly
“Klyph Stanford's evocative scenery and projection design maximizes the impact of a small stage—a few performance areas, a bandstand for the five musicians at the back—with glamorous black-and-white images of 1920s New York City and Paris.”
Susan Berlin, Talkinbroadway.com
Henry VIII
“Their continual emerging from the shadows of Klyph Stanford's fine lighting design contributes to a sense of a court in which everyone except the man at the top is vulnerable to gossip and backstabbing.”
Peter Marks, Washington Post
“What hasn’t been trimmed, by all indications, is the budget: Robert Richmond's production is as sumptuous a thing as I've ever seen at the Folger, with actors wrapped in acres of brocades and velvets, courtesy of designer William Ivey Long, and the stage groaning under the weight of a set—cunningly built by Tony Cisek, eloquently lit by Klyph Stanford—whose layers of filigreed ironwork manage to suggest rank upon rank of palace passageways. It's just the sort of place where a conspiratorial courtier might loiter, hoping to overhear something worth the risk.”
Trey Graham, Washington City Paper
“Klyph Stanford’s magical lighting takes advantage of the set’s airiness with colors that stream through the filigree and effects that magnify a unified sense of traveling back to the 16th century.”
Margaret Lawrence, InsideNova.com
Intimate Apparel
“For a theatre company going through its share of hard times, you sure couldn’t tell it from the exquisite set and lighting design by Klyph Stanford ...”
Debbie Jackson, DCTheatreScene.com
Low Level Panic
“Walk into the tiny performance space at the back of 1409 Playbill Cafe, and suddenly you're in the shared bathroom at Jo and Mary and Celia's apartment, a space whose walls are papered—the window, too—with ludicrously glamorous magazine goddesses, idealized creatures created to give ordinary women something to live (and shop) up to. Look closer, and every 10th image turns out to be glossy hardcore; six degrees of sexualization, set designer Klyph Stanford seems to be saying, doesn't begin to describe the ways our society sells and sells to its women.”
Trey Graham, Washington City Paper
“Klyph Stanford's set is the most intriguing aspect of this production. He places the frame of a huge wall mirror between the audience and the performers who spend much of the time staring at themselves (and, thus, the audience) as they apply makeup, arrange their hair, pick at imperfections and consider their wardrobe. Behind them is a bathroom, complete with tub which is used both for bathing and dying clothes. The walls are lined in semi-soft and harder porn cut from magazines, surrounding these three women with the images of sexual identity they believe the world imposes on them.”
Potomac Stages