Neil Gaiman's Neverwhere

REVIEWS

Although designer Michael James Schneider’s set tends toward serviceable, it allows for many atmospheric effects, with Matt Richter’s prismatic lighting, Mark McClain Wilson’s ominous sound and Martin Morse’s eclectic costumes particularly evocative. - The LA Times

Director Scott Leggett stages the play creatively, using projections and video to create whatever locations he needs, and his pacing is swift (the three hour running time flies by). Robert Kauzlaric's adaptation does a professional job of taking something that might be better served by having the bigger budget of a film and making it work for the stage, retaining the best bits of Gaiman's novel. Martin Morse's costume design is the production MVP, with excellent work all around, from the Marquis' distressed leather duster to Hunter's battle attire. - LAist

Under the resourceful leadership of director Scott Leggett, utilizing every inventive trick the creative nutjobs who populate Scared Fools have to conjure, “Neverwhere” goes everywhere the imagination can take it. On the wide and unwieldy stage, Michael James Schneider’s game board of a set—featuring platforms, sewer ducts, and more secret passages than Aladdin had lamps—consists of roughhewn stitched-together pieces of fabric, resembling something conjured by Tim Burton. With Martin Morse’s “Pee-wee’s Playhouse” costumes created out of anything available and an incredible array of lighting effects by Matt Richter that defy the theater’s limited arsenal of instruments, there’s a fantastical bare-bones quality about “Neverwhere” that sweeps the viewer down into the sewers of London—if, of course, you’re ready to let your mind make the crossing. - LA Theater Review