Sony/Henson 1999/2000

direction: Tim Hill

production design: Stephen Marsh

scenic design: Brian Sidney Bembridge, Helen Ward, Michael Ward, Allan Hook, Scott Baker

quintessence theatre group 2019

playwright:  John Kane

direction:  Lee Cortopassi

scenic design: Brian Sidney Bembridge

lighting design: Brian Sidney Bembridge

costume design: Kelly Myers

sound design: Alexander Burns

Scenic Designer Brian Sidney Bembridge….is entirely innovative in their portrayal of Oz. They turn a tiny black box theater into the jazzed-up world we all know and love. The yellow brick road is now just a magical yellow brick that Dorothy and friends use like a GPS to get them to the Emerald City. The gates to the Wizard's castle have security cameras on them, and the field of poppies the iconic group falls asleep in is one big red blanket. broadwayworld.com

Set designer Brian Sidney Bembridge never veers from this simplicity, however, even after the frenetic rainbow collage that is the Land of Oz is revealed. Aside from pieces brought in and out as needed (a door here, a table there) and the occasional shifting backdrop, there is nothing else but a floor and a wall, allowing the actors and director with bringing Oz to life for us. I spoke with a five-year-old after the show, and he understood everything that happened, and he had excellent reactions and questions. He was already familiar with the movie, but he was not disappointed in or confused by the scarcity of set. He saw and heard everything that the actors and creative team wanted him, and everyone, to see and hear. Flying houses, magic slippers, dark castles, fields of poppies, lions, tigers and bears, all present and accounted for. philadelphialifeandculture.com

With Set & Lighting Design by Brian Sidney Bembridge, the multifaceted and adaptive set begins in a minimalist, matte gray ‘Kansas,’ reflecting depression-era austerity and the film’s ‘pre-Oz’ world. It soon transforms into a rainbow-colored land of concentric circles, misty vapors, and wonderment. Hand-held props-on-a-stick allow larger elements to be depicted in miniature, challenging the audience’s imaginations, and hearkening to a time of carnivals and puppetry. The empty stage floor allows the performers to ‘create’ the set, with a brilliant use of flowing fabric, and inventive choreography by Adrienne Maitland. The creative courage shown by the director, cast, and crew reflects a key theme of the show, heading boldly into unknown territory where dangers may lurk, but where magic awaits as well. delcoculturevultures.com

world premiere

steppenwolf theatre company 2015

playwright: Kevin Coval and Idris Goodwin

direction: Lisa Portes

scenic design: Brian Sidney Bembridge

projection design: Liviu Pasare

lighting design:  JR Lederle

costume design: Elsa Hiltner

sound design: Thomas Dixon

Director Lisa Portes's staging is greatly enhanced by the vividly colorful visual design by Brian Sidney Bembridge (set), J.R. Lederle (lights), and Liviu Pasare (projections). Chicago Reader

In Lisa Portes's stylish, extremely well-acted production, featuring strong design work from Brian Sidney Bembridge's sets to Liviu Pasare's projections to Thomas Dixon's sounds, the MUL (Made You Look) crew's ultimate objective is recognition, even though they remain anonymous and their personal relationships suffer for it. TimeOut Chicago

Brian Sidney Bembridge must also be commended for his scenic design, especially the exact replica of the museum wall. new city chicago

Brian Sidney Bembridge’s striking scenic design immediately places audience members into the world of This Is Modern Art’s leading characters and graffiti artists, Seven, Jose/JC, and Dose. The large chain-link fence, towering scaffolding, and various works of graffiti art make one feel as if they right alongside Seven, Jose/JC, and Dose throughout their artistic journey. Coupled with Liviu Pasare’s projection/video design, J.R. Lederle’s lighting design and Thomas Dixon’s sound design, the artists’ world is shaped into one that exudes artistic passion and determination to fight for change. chicagostagestandard.com

Brian Sidney Bembridge's set for This Is Modern Art is made up of piped scaffolding on which the writers climb to write their art, a painted backdrop and a translucent curtain. The set is full of little details. A pair of shoes, tied together by their laces, hangs from pipes above the stage. Each of the various pieces of graffiti that adorn the backdrop and curtains have meaning, if you take the time to look them over carefully. gabers block

Lisa Portes has directed the production with style and energy. Brian Sidney Bembridge’s scenic design smoothly melds with Liviu Pasare’s incredibly artistic projection work and J.R. Lederle’s astounding lighting. This production is sharp, exciting and stimulating, both visually and emotionally. chicagotheaterreview.com

...the show is designed well. Brian Sidney Bembridge’s minimalist set includes examples of tagging, as well as a reproduction of the Art Institute’s unsolicited piece. It incorporates the backstage architecture, which theatre practitioners are familiar with but retains some mystique for casual patrons and high schoolers, and contributes to the idea of the world as stage awaiting its backdrop. chicagocritic.com

steppenwolf theatre company 2014

adaptation:  Althos Low

direction: Hallie Gordon

scenic design: Brian Sidney Bembridge

lighting design: JR Lederle

costume design: Izumi Inaba

sound design: Rick Sims

Brian Sidney Bembridge’s carefully constructed and detailed set includes the house’s hunting trophies that horrify the farm animals, and the barn wall painted with the Seven Founding Rules, a.k.a. the Commandments of Animalism. stageandcinema.com

 Performed alley style upon Brian Sidney Bembridge’s girder-and-timber farmyard setting, with the audience seated on either side and all the action up and down the center area, theatergoers find themselves close to the story. His physical setting reflects the animal’s domain, the barn and loft, at one end while the farmer’s house, with its desk, bookshelves and mounted animal heads adorning the walls dominates the other end. chicagotheatrereview.com

Brian Sidney Bembridge’s narrow, but highly-functional set has a room in the farmer’s house at one end and a prison-like two-tier part of the barnyard on the other end. There’s also a wall on the second floor of the barnyard where the animals paint their “Seven Commandments of Animalism”.  One by one as the show progresses we see each commandment get distorted over and over again, with the last commandment changing from “All animals are equal” to “All animals are equal, but some animals are more equal than others”. Splash Magazine

The production team for "Animal Farm" includes Brian Sidney Bembridge dreaming up a fantastic and intricate scenic design. NWI Times

Izumi Inaba’s costumes ­— ingenious hand-knitted hoods that quickly transform the uniformed proletariat into animals — are most winning and imaginative, while Brian Sidney Bembridge’soffice and barnyard set are handsome. Chicago Sun-Times

The costumes by Izumi Inaba, actually feel like they are designed to obscure the animals' personalities, just as Brian Bembridge's set avoids the overt nomenclature of a farm... nonetheless wholly Orwellian impulses. Chicago Tribune

photos by: Michael Brosilow & Brian Sidney Bembridge

uic school of theater and music  2015

adaptation: Tom Morris and Emma Rice

director: Heidi Stillman

scenic design: Brian Sidney Bembridge

lighting design:Austin Dambacher & Brian Sidney Bembridge

costume design: Jane Bagnall

sound design: Rick Sims

arden theatre company  2016

playwright: John Glore

director: Matthew Decker

scenic design: Brian Sidney Bembridge

lighting design: Maria Shaplin

costume design: Jillian Keys

sound design: Michael Kiley

Brian Sidney Bembridge's bright set consists of recycled materials, decorated with colorful plastic cups and jugs, underscoring an environmentally conscious theme... But now that companies like the Arden commit to enlisting first-team talents and investing mainstage resources in children's theater, more attention must be paid. broadstagereview.com

Scenic design by Brian Sidney Bembridge aids in the storytelling while still holding its own concept, which is quite contemporary and colorful. Costumes by Jillian Keys are gorgeous: well-crafted recycled materials that line up with the concept of the set- with just enough glitz to tell us who’s who, while keeping them human...After hijinks and hysteria galore, the evening comes to a close with a cow patty the size of a couch coming through the audience. The effect enraptures the audience as if they are watching the infamous chandelier fall in the lavishly expensive Broadway production ofPhantom Of The Opera: this is theater magic at its best. 
Overall THE STINKY CHEESE MAN proves that children’s theater can still serve its purpose without talking down to its audience. The Arden’s STINKY CHEESE MAN sets a new precedent for what a children’s theater production can accomplish. phindie.com

The stage is decorated with bright colors, plastic cups strung together on the sides and a literal mountain of recyclables as the background. While you're waiting for the show to begin, it can be fun to point out the different containers and toys scattered throughout the stage decor (the castle on top of the mountain of detergent containers and plastic bottles is the most obvious, but there are others).  At one point, two large eyes and a green hand big enough to grab Jack and drag him off stage are all we see of the Giant, but combining them with a booming voice is enough to create a convincing illusion for little viewers. mommypoppins.com

Brian Sidney Bembridge’s colorful set and Jillian Keys’ wildly mismatched costumes recycle everyday objects like plastic cups, feather dusters, hula hoops, and oversized playing cards to create their clever designs. It’s a whole lot of updated fun, and top-notch children’s entertainment that will appeal to contemporary audiences of all ages. dcmetrotheatrearts.com

world premiere

steppenwolf theatre company 2014

playwright: Deborah Zoe Laufer

direction: Hallie Gordon

scenic design: Brian Sidney Bembridge

projection design: Anna Henson

lighting design: JR Lederle

costume design: Brian Sidney Bembridge

sound design: Rick Sims

In Hallie Gordon’s stylish, high-octane staging, the audience is invited into the gamer’s lair... her design team have created an immersive experience, from the pre-show Guitar Hero game,...Brian Sidney Bembridge, responsible for the set and costumes, has created a true gamer’s paradise, complete with mini-fridge stocked with beer and energy drinks, patched drywall, stuffed Angry Birds, Mario blanket, Frogger posters and controllers from every game system on the market. His costumes eloquently capture the characters’ immersion in game culture with a wide range of game-related t-shirts (including Ian’s very apt MLG T-shirt) and their attempts to join the real world in various costumes related to those roles. chicagostgestandard.com

Scenic designer Brian Bembridge’s set might be the most realistic part of the play: The apartment’s industrial carpet and poster-covered plaster walls clearly indicate that the gaming equipment costs more than everything else combined. His costuming choices are also great, marking the passage of time by having characters change between different nerdy shirts, or just having Ian don a different color of sweatpants.  stageandcinema.com

The fine interplay of the actors is enhanced by Brian Sidney Bembridge’s set and costumes, Rick Sims’ sound design, and Anna Henson’s elaborate newsreel-like projections in this play that is all about growing up and looking real life directly in the face. Chicago Sun-Times

Brian Sidney Bembridge’s detailed set also deserves an honorable mention. It gives you the perfect cave-like and isolated feel that was required. ...the overall acting, directing, set and projection designs are fantastic... Splash Magazine

Everything about these guys looks perfectly day-in-the-life ordinary. Projection Designer Anna Henson creates the game visuals on Scenic Designer Brian Sidney Bembridge’s unfinished basement wall showcasing how war game imagery has gotten so intense and vivid. This isn’t a Mario and Luigi scenario. These video games have clearly leveled up. The technology progression is impressive. fourthwalsh.com

Brian Sidney Bembridge’s scenic design and Anna Henson’s projections providing an impressively immersive gaming experience. For Steppenwolf for Young Adults, it’s an impressively up-to-date and uncondescending treatment of the world online and off. Time Out Chicago

 they capture all of this by keeping a claustrophobic yet welcoming environment, thanks to a closed-in space. It’s claustrophobic because we know the disastrous outcomes that arise from Ian’s drone striking, but it’s welcoming because we can understand why these four characters want to stay in this room: to escape reality. chicagotheatrebeat.com

It is full of street language and ample us of the F-word. While that is not new to the teens, the play seems to validate its usage.  I believe that theatre needs to uplift language not resort to the lowest usage. Folks wouldn’t allow teachers in a high school to use the F-word so why does theatre do so? But the look of the show was spot on.  chicagocritic.com

photos: Brian Sidney Bembridge

Arden Theatre Company  2014

playwright: Charles Way

director: Whit Maclaughlin

scenic design: David P. Gordon

lighting design: Brian Sidney Bembridge

costume design: Richard St. Clair

sound design: Rob Kaplowitz

The Arden Theatre Company is making brilliant use of shadows to create the sets for their latest production, Beauty and the Beast. Under the creative auspices of lighting designer Brian Sidney Bembridge, the exaggerated shadows come from wire and cardboard sculptures—cut-outs strategically held or placed by actors behind draped screens. With lights tucked behind the sculptures, the cut-outs cast darkened images that make ships on oceans, as well as houses, furniture, food and forests. Perfectly fitting the theme of this classic tale, the sets themselves suggest that the nature of appearances isn’t always what it seems. phillynow.com

What brings this production beyond its denotation of children’s theatre is the superb work of its creative team: Sebastienne Mundheim/White Box Theatre, Designer of Shadows and Shadow Objects; Rob Kaplowitz, Sound Designer; Brian Sidney Bembridge, Lighting Designer; Richard St. Clair, Costume Designer and David P. Gordon, Scenic Designer. The special effects that this team has created are incredible. With great attention to detail, every aspect of design is noteworthy.  Even if you are not a huge fan of the storyline of Beauty and the Beast, you must come to see   this presentation for both the complexity and the simplicity of the production. beyondmybackyard.com

...David P. Gordon’s sparse set, with lofty strips of beige curtains in two concentric semi-circles (the outer stable, the inner rotating) receives the sometimes ominous, sometimes joyous shadows of Mundheim’s cut-outs. Redolent sound effects by Rob Kaplowitz and moody lighting by Brian Sidney Bembridge effectively contribute to bringing the story and the dream imagery to life. phindie.com

arden theatre company 2014

direction: Doug Hara & Steve Pacek

scenic design: Brian Sidney Bembridge

lighting design: Brian Sidney Bembridge

costume design: Lauren Perigaur

sound design: Rick Sims

The set, sound, and costumes bring the Seuss book to life;
With color and magic and fun they are rife.

The cast and design of this show are terrific—
It’s a hit! It’s a smash! A success! I predict it.
phindie.com

The Arden’s agile cast embarks on numerous acrobatic stunts aided by an ingenious set that looks like it was ripped right from the pages of the book. uwishunu.com

photos: Brian Sidney Bembridge & Mark Garvin

hope summer repertory theatre 2107

book: Scott Ferguson, George Keating, & Kyle Hall

director: Fred Tessler

scenic design: Brian Sidney Bembridge

lighting design: Erik Alberg

costume design: Theresa Ham

sound design: Amanda Werre

And while the cast members put on a dazzling, fun show, the work of the crew was also pretty impressive...each song had fun support with everything from scarves to miniature cotton gins. They illustrated each number with clever pieces that the actors were able to get on and off stage quickly and integrate into their dance pieces. encoremichigan.com

chicago shakespeare 2009

direction: Devanand Janki

sceneic design: Brian SIdney Bembridge

lighting design: Jessi Klug

costume design: Debbie Baer

Chicago Shakespeare has gussied up the typical TYA experience….and a set from Brian Sidney Bembridge that adds classy Arabian touches to the usual pastiche. And unlike other versions of this show I’ve seen, this production has an actual flying carpet that descends from above and takes Aladdin and Princess Jasmine on what looks like a cool voyage. Chicago Tribune

The big surprise is that in many respects, "Aladdin" -- based on one of the most beloved stories in the Arabian classic "One Thousand and One Nights" -- turns out to be every bit as enchanting as the "Poppins" spectacle, not to mention shorter, hipper, wittier and less expensive…. He has been wonderfully aided and abetted by music director Ben Johnson and his band…. and the glorious Islamic picture book designs of Brian Sidney Bembridge…. Chicago Sun-Times

The production values are well up to the expected CST high standards. The costumes designed by Debbie Baer are numerous and colorful. Brian Sidney Bembridge’s scenic design takes us into the exotic world of the Arabian Nights. Meredith Miller designed the amusing puppets, notably the fantastical plumage sported by Iago the parrot.
The special effects are a delight, like the magic carpet that rises high above the stage to transport Aladdin and the princess. Copley News

Devanand Janki’s sprightly staging and choreography is reinforced by the 1,001 delights of Brian Sidney Bembridge’s busy marketplace, sumptuous palace, and gorgeous hanging lamps….the unburied treasures are picture-perfect. Chicago Free Press

arden theatre company 2008

direction: Matt Pfieffer

scenic design: Brian Sidney Bembridge

lighting design: James Leitner

costume design: Lisa Zinni

Brian Sidney Bembridge's colorful set is full of surprises, while Lisa Zinni's costumes, with their furry hoodies, tails and floppy ears, suggest dogness without being too obvious about it. Philadelphia Inquirer

The stage is virtually bare, placing the focus squarely on the lovable, energetic dogs; props based on drawings from the book and bright colors add a circus-like visual appeal. The result is a charming production of deceptive simplicity. talkingbroadway.com

world premiere

children's theatre company 2008

City Pages: best sets of 2008

direction: Derrick Sanders

scenic design: Brian Sidney Bembridge

lighting design: Thom Weaver

costume design: Reggie Ray

Technically, this show was up the CTC’s high standards. The bi-level set functioned very well, the small, slightly elevated stage floor providing separation for the scenes that took place on the streets, and allowing for a seamless flow of the action, supported by dramatic lighting contrasts. howwasthatshow.com

Five Fingers of Funk, Children's Theatre Company (Brian S. Bembridge): A cozy basement in the 1970s, the subterranean Honeycomb Hideout for five teens pursuing dreams of groove and transport. Funky. City Pages

world premiere

skyline stage 2008

direction: Silvia Hase

scenic design: Brian Sidney Bembridge

lighting design: Brian Sidney Bembridge

Aside from Hase's directorial cohesion, a major difference is a new design from Brian Sidney Bembridge that embraces the traditional Chinese roots of the entertainment while adding some contemporary flash and spark. Chicago Tribune

As if the talent on stage isn’t enough, the exceptionally creative team behind the scenes is outstanding. Director Sylvia Hase hails from Ringling Brothers and Barnum & Bailey Circus. Choreographer Brenda Didier and lighting/scenic designer Brian Sidney Bembridge, both Chicago based award-winners, round off the visionary team. chicagotheatrebeat.com

As if the talent on stage isn’t enough, the exceptionally creative team behind the scenes is outstanding. Director Sylvia Hase hails from Ringling Brothers and Barnum & Bailey Circus. Choreographer Brenda Didier and lighting/scenic designer Brian Sidney Bembridge, both Chicago based award-winners, round off the visionary team. But the beautifully brilliant costumes, lighting, music and dancing pale next to these genuinely gifted performers who not only entertain beyond your wildest dreams but also serve as incomparable ambassadors of international good will. chicagostagereview.com

Cirque Shanghai’s multinational production team doesn’t conjure a Terry Gilliam fantasia, but this year’s show still gives a lot of talent and art-directing bang for the buck. Many of the old-school-circus acts (contortionists, handstands atop a leaning tower of chairs, a dozen women riding one bike) are repackaged reprises, but Gold outshines its predecessors with gorgeously filigreed costumes and scenic tableaux (a whole lotta lotuses)... Time Out Chicago

Shanghai Gold, by contrast, is all sunny spun-sugar garishness, pure pop candy and cheerleading for China.  The sheer, in-your-face glitter gulch ambiance of the show is a perfect fit for Navy Pier: Gigantic lotuses bloom in neon, Technicolor riots, parasols spin with dizzying frenzy and China's bold, red-circle national flag flies with outspoken pride that (almost) banishes any thoughts of the country's treatment of Tibet or the human-rights abuses that have plagued its post-Cultural Revolution history. Windy City Times

plymouth state university 2010

direction: Elizabeth Cox

scenic design: Brian Sidney Bembridge

lighting design: Matt Kizer

costume design: Danee Grillo

The colorful costumes and mystical sets accompanied the animated acting, which brought the play to life... the cast and crew allowed their individual curiosities push them above and beyond to present an outstanding performance. theclockonline.com

lookingglass theatre company 2000

direction: David Kersnar

scenic design: Brian Sidney Bembridge

lighting design: Ben Spicer

costume design: Mara Blumenfeld

Kersnar's haunting and necessary outer frame set up the emotional complexity of a remarkable, moving and memorable 75 minutes of theater.... his expansive show is quick paced, inventive, and of a high professional standard. A truly remarkable and spectacular set from Brian Sidney Bembridge captured the inner and outer worlds of Brundibar.  Chicago Tribune

virginia Opera 2006

direction: Michael Shell

scenic design: Brian Sidney Bembridge

lighting design: Bill Stonehouse

costume design: Pat Syeller

world premiere
chicago shakespeare theater 2008 20011

joe's pub 2010

theatre royal stratford east 2011

direction: The Q Brothers

scenic design: Brian Sidney Bembridge

lighting design: Toby Knyvett/Ryan Davies

costume design: Debbie Baer

Visually, Funk It Up About Nothin’ is a celebration of color and speed. Debbie Baer’s anything-goes costumes clash joyfully with the Day-Glo graffiti adorning Brian Sidney Bembridge’s streetscape set. Chicago Reader

It’s all winningly performed against Brian Sidney Bembridge’s well-tagged, funkadelic set and in Debbie Baer’s instantly characterizing costumes. Chicago Free Press

Scenic designer Brian Sidney Bembridge has created a kind of storybook ‘hood, while Debbie Baer has got the streetwear pretty fly. crikey.com

The costumes and set design were clever, in that the costumes evoked elements of the hip hop culture, without being reflecting any of the negative connotations which come with it. The set made great use of a small space, with an impressive neon effect under UV lights. mimsmusings.com

Presented in a brilliant colourfully rough urban back-yard, over-hanging with fairy-lights, and with the action spilling up and down the front-porch steps of Leonato’s house, the basic conceit of the update is that posturing Don Pedro (Postell Pringle) and his posse are rap stars, not returning military heroes. The Telegraph

This production is a complete triumph.  The set, costumes, lighting, and music are thrilling &the creatively choreographed scene changes by the actors are like well executed dances of fluid mood alterations. Gay Chicago Magazine

Written and directed by the Q Brothers, with a stellar cast, “Funk” looks and feels like a mash-up of Sesame Street, MTV and Saturday Night Live rolled into one, slickly presented with catchy hip-hop beats, punchy dialogue and a flashy, entertaining take on Shakespeare’s classic, Much Ado About Nothing. The set is an electric rainbow of colors: outlandish pinks, blues, and greens, matched by the caricature-like costumes of the cast. centerstagechicago.com

chicago shakespeare theater 2002

chicago shakespeare national tour 2003

direction: Gary Griffin

scenic design:  Brian SIdney Bembridge

lighting design: Charles Jolls

costume design: Mara Blumenfeld

dallas theatre center 2011

casa mañana 2011

direction: Wendy Dann

scenic design: Donna Marquet

lighting design: Brian Sidney Bembridge

costume design: Jennifer Ables

As lighting designer, Brian Bembridge uses his talent to the fullest and creates a picture-perfect scene in which the actors can work. His use of shadows and an unconventional but well-arranged drop of a physical lamplight show originality and an eye for transforming an empty stage into a dark-lit forest or sunrise on an open plain. Pegasus News

juneau lyric opera 2018