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Hello, Dolly!

“Costumes by Michael Wilson Morgan are a key element to this show as are smart sets by Kerith Parashak.”- Battle Creek Enquirer

“Set design (Kerith Parashak) had the aura of a vaudeville stage, and period costumes (Michael Wilson Morgan, John Van Hout) were extravagant and, at times, literally candy-colored.”- MLive.com

Move Over Mrs. Markham

“The set was perfectly painful. What madman picked out that bedroom wallpaper (probably scenic designer Kerith Parashak)? It looks like the rug pattern from the hotel in “The Shining,” but more manic.”- MLive.com

Fiddler on the Roof

“The wonderfully fluid and exceptionally evocative set design by Kerith Parashak instantly establishes the overall feeling of the piece and allows the action to shift quickly AND QUIETLY(!) from one locale to the next. Coupled with Paul Collins lighting design, it is real gem and bound to be imitated (the sincerest form of flattery) in many “Fiddlers” to come.” – MarciaMarciaMarcia.net

Jacob Marley’s Christmas Carol

“Night Blue’s production of Jacob Marley effectively captures the theatricality of Mula’s script with some inventive set design by Kerith Parashak and an impressive puppetry effect of the Ghost of Christmas Future.”- Chicago Theater Beat

Unwilling and Hostile Instruments

“Gathered in “a rehearsal room at The Hull House Theatre”—actually American Theater Company, where Kerith Parashak’s mazelike set is appropriately packed with Joshua Hurley’s seemingly random and decaying collection of props—they’re rehearsing the show we’re about to see.” – New City Stage

“…Kerith Parashak’s set, a great jumble of antiques, deftly captures layers of history.” – Chicago Sun Times

“The setting has the cast rehearsing at a shuttered Hull House Theatre in Chicago – which is imagined well at American Theatre Company – showing off an old and rustic set that resembles a closed rehearsal room. It’s an interesting tangent, seemingly meant to create some continuity between the other plays and allows the cast to provide some context for each one.”- Showbiz Chicago

The Winter’s Tale:

“Scenic designer Kerith Parashak’s religious commune is vaguely modeled after the culture of David Koresh’s infamous doomsday cult, which the ATF raided in 1993. Gray, wood-slat, two-story walls with sliding panels enclose a large room and can pivot to create new scenes.” – KC Metropolis

Billy Bishop Goes to War:

“The co-production of UMKC Theatre, Kansas City Actors Theatre and the National WWI Museum demonstrated the transcendence that sometimes happens when talent and know-how gracefully merge.”- The Pitch, “Best of”

“When theatergoers stream in to see “Billy Bishop Goes to War,” the first thing they’re likely to notice is a Nieuport 17, a French-made biplane that saw plenty of action in World War I.”- The Kansas City Star

“A first-rate production.” – KC Metropolis

“Designed by Kerith Parashak, the set consists of a full-sized, wrecked British bi-plane—Bishop, a great shot but a mediocre pilot, was known for bringing down several of his own aircraft, too—with a parachute stretched across barren tree branches for a backdrop. Rensenhouse’s staging makes great use of the entire space, and shifts in lighting (by Douglas Macur) bring us into Bishop’s cockpit at a thousand feet or transform the stage’s stairwells into a front-line trench.”- KC Metropolis

“Director John Rensenhouse paces the action well and has assembled a design team that creates a physically handsome production. The center piece of Kerith Parashak’s set is an imposing biplane, seemingly caught in a freeze frame as it hits the ground nose-first.”- The Kansas City Star

“Some of the UMKC students must also be applauded for their work on this stellar show. Scene designer Kerith Parashak provided a great design that makes good use of what might be considered limitations of the spaced.” – KC Stage

The Salvation of Iggy Scrooge:

“It was a gift we’d happily take again.” – The Pitch, “Best of”

“Director Missy Koonce gets the most out of the material, throwing in amusing references to the Kansas City Repertory Theatre’s version of “A Christmas Carol” and allowing her designers to get crazy. Genevieve V. Beller’s costumes are a succession of visual jokes and coordinate nicely with Kerith Parashak’s scenic design, which makes clever use of the Unicorn’s turntable stage.”- The Kansas City Star

http://unews.com/2011/12/06/%E2%80%98the-salvation-of-iggy-scrooge%E2%80%99-a-rock-%E2%80%98n%E2%80%99-roll-alternative-to-dicken%E2%80%99s-classic/

Ben Franklin’s Apprentice:

“The design team also excelled. Set designer Kerith Parashak and prop designer Ron Megee set up Franklin’s workshop and Spencer’s magic show with all sorts of contraptions and period-appropriate contrivances.”-KC Metropolis

Three Tall Women:

“The first act appears to be completely realistic. It’s in the bedroom of an obviously wealthy woman, dominated by a magnificently massive bed headboard with an undoubtedly priceless medieval manuscript framed over it and a couple of handsome side chairs “” the few strokes with which set designer Kerith Parashak economically tells us where we are.” – KDHX

Boston Marriage:

“Working within the intimate space of the A.E. Hotchner Studio Theater, Scenic Designer Kerith Parashak used period furniture and artwork to create a pristine Victorian backdrop in which the three characters berated and beguiled each other.” – KDHX

The period costumes and sets — the latter complete with chintz wallpaper and wainscoting — are by junior Laura Mart and senior Kerith Parashak.- The Record

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