Articles
Behind the Scenes for Macbeth
https://www.seattleshakespeare.org/stage-blood/
Reviews
Elektra
“There is an interesting traveling set design by Robin Macartney that consists of mostly stage flats mounted on turning joints so that the scenic sides can be revealed, changing a location visually, and then faced perpendicularly away from the audience.”-Online Review, Seattle Gay News
“The scenic design, by Robin Macartney, uses rotating panels to rapidly change the setting. That's critical because the action, and the rather large cast of characters, change just as rapidly. A good part of the pleasure of this very amusing piece is the speed of the action and the detail with which the characters are drawn.”-Online Review, Seattle Actor
Cliffhouse
“There is a simplistic brilliance to the set design of "Cliffhouse"” –Online Review, Edge Seattle
“[The] Characters are as flat and sheer as the legs and backdrop of Robin McCartney’s [sic] effective set and the actors do little to ameliorate the situation.”-Online Review, The Sunbreak
A Mouse Who Knows Me
“A lot of creativity went into the set and props, set designer Robin McCartney [sic] used simple yet highly effective set pieces to create a lab, with imaginative use of lighting, by Tess Malone.”- Online Review, Drama In The Hood
Clockwork Professor
“The set is the first aspect of this production that really impressed me; its design, by Robin Macartney, is nearly perfect. The Professor’s workspace is unkempt and cluttered, just like his mind, while the rest of the space is free to become several different locations using creative lighting, by David Baldwin, and well placed props. There are few things I love more than a well lit and utilized stage.”- Online Review, Copious Love
“With some outstanding costumes and props from Samantha Armitage and Robin Macartney, the show creates a fascinating new world.” –Online Review, Seattle Broadway World
Girl, You Know it’s True
“…I’m majorly in love with Robin Macartney’s deliciously simple set which used concentric rings of curtains to divide off playing areas. It’s a clever solution to creating multiple locations in a show full of them.”-Online Review, Seattle Gay News
Balconies
“I immediately noticed the set: clever hints of vastly different lifestyles through glimpses of interior décor effectively set the mood for two clashing personalities. Posters of X-Men hung crookedly from the left apartment’s orangeish walls, while on the right hand side, a perfectly manicured potted plant sat on a tasteful table against white walls. These details set the stage – literally – for a night of situational humor.”-Online Review, South Seattle Emerald
Fast Company
“The scenery and scene transitions executed in the tiny setting of Theatre Off Jackson are really remarkable, and honestly not to be missed. Many productions use projected backdrops combined with physical sets, but this one combines them with such deftness that it truly is a pleasure to watch each scene change unfold.” –Online Review, Drama in the Hood
Bunnies
". Also showing imagination, Robin Macartney’s simple set evokes Woodland Park, right down to those old four-color striped park signs. "-Online Review, Seattle Weekly.
A Christmas Story
" The iconic details — the Major Award, the Olds (replete with working headlights), the roiling sea of dog-ma The Old Man must navigate every day just to get home from work — are all well represented in a set (designed by Robin Macartney, realized by Justin Gelle and thoroughly decorated) that not only looks good, but contributes to the snappy pace. "- Online Review, The Kitsap Sun.
LiveGirls interview:
http://lgtheater.org/2012/03/seattle-relationship-status-robin-macartney/
Medea
"Though I will say I was completely distracted by the strangeness of the leather satchel he wears when he runs into the house following his children's murder. It's weirdly too small for him and it's cheap-looking, and this heartrending and complex moment is the first time we see him with it. I felt bad for noticing, but it would be as if you noticed that Leonardo DiCaprio, as he slowly slipped into the icy depths of the Atlantic at the end of Titanic, was wearing sunglasses. It was completely unignorable."-Online review, The Stranger
Mothers and Sons
"As for this specific production, it does feature a lot of great things with the most obvious being Christopher Mumaw’s handsome set which is full of detail appropriate to an high end condo owned by a bourgie gay couple and Robin Macartney had to have worked overtime to gather together the many props and pieces needed to fill up this set for this production."-Online Review, Seattle Gay Times
Downstairs
" And shout out to stage designer Robin Macartney for one of the most excellent sets I have seen in a while. The half unfinished basement full of old odds and ends, blankets, a forgotten floral couch, shop sink, electrical conduits and a shop bathroom squeezed gingerly into such a small space is the perfect blend of realistic utilitarian and metaphorical oppression. Lacy and I had to see it up close after the show and took our time pointing out the details like total fan girls. "-Online review, Copious Love Productions
" The tech and design work is strong here, too with an appropriately dingy basement set by Robin Macartney and subtle atmospheric lighting by Gabrielle Strong. It’s nice to see a “real” set in ACT’s Bullitt Cabaret space. Many productions there opt for dull simple sets; this is a fully realized production. "-Online review, Seattle Gay Scene
This Show is About Progress
“Divorced from its clouded storyline and viewed only as something to experience, however, Progress is an interesting watch. The set itself — in which audience members sit on couches in this wrecked house — is something of a spectacle. Macartney has worked miracles here; I’ve been to Base many times and never envisioned something like this.”-online Review NWTheatre.org