“Jonathan Collins’ sets never fail to astound, and this versatile design pays homage to the Art Deco motif that defined the ‘20s.” – Long Island Press
“[Jonathan] Collins’ stunning set is enhanced beautifully Cory Pattack’s spot-on lighting.” – Broadway World
“A beautiful, versatile set by designer Jonathan Collins” – NY Theater Guide
“Millie arrives by bus from Kansas to New York, all shiny with the metallic gleam of Jonathan Collins’ Art Deco design” – Newsday
“The show is a feast for the eyes… the set is equally impressive. Cleverly designed by Jonathan Collins, panels on the stage resemble a sparkling New York City skyline, and when spun around reveal additions to a scene.” – North Shore of Long Island


“a handsomely detailed set by Jonathan Collins, who turns the title abode into a virtual character. These are folks of means and taste — comfortable without being conspicuous — down to their fashion statements (personality-revealing costumes by Tristan Raines)” – Newsday

“The ‘cottage’ designed by the incomparable Jonathan Collins– which theatergoers admired before the show even began– is a work of art. An abundance of burnished wood, a muted color palette and distressed floor all attest to the fact that this is a structure that has stood the test of time. We glimpse some of the weathered exterior of the cottage at the edges of the interior. Trelliswork laden with colorful flowers convey the beauty of the surrounding meadows. Kudos to props designer Eric Reynolds for upping the cottage’s charm with just the right assortment of knickknacks, flower pots and ferns peeking out hanging baskets.” – The Northport Daily News

“The title reflects the set. It is the interior of an English cottage located 90 miles from London, possibly the Cotswolds. Set designer Jonathan Collins has outdone himself with this effort. It is tastefully decorated in what may be called English Rustic of 1923, the play’s time frame. Collins’ skills are outstanding.” – Times of Huntington

“Another highlight is the incredibly stunning set created by Engeman vet Jonathan Collins with Eric Reynold’s coordinating the props. As suggested from the response of my fellow patrons first walking into the theatre, Mr. Collins outdid himself with the rustic yet homey ambiance of the family’s English countryside cottage. The addition of Mr. Reynolds’ beautiful props ideally exhibited the upper class lifestyle of the family.” – Broadway World

“A superb set by the incredible Jonathan Collins” – Smithtown Matters

“The charming set by designer Jonathan Collins brings to mind a fairy-tale cottage” – NY Theatre Guide


“Furnished with an old set of cushioned wrought iron furniture and rattan, the room, with its worn verdigris-hued wooden shingles, has seen better days. The set, which resonates with authenticity, is another exquisite creation by Jonathan Collins– the perfect venue for Durang’s flawed characters to strut their stuff.” – Northport Daily News

“Jon Collins, Kate Ashton, and Tristan Raines (Set, Lighting and Costume design respectively) combine to make this show visually superb. The blue-painted, distressed wood home is a place we could happily curl up in … while we admire the ever-changing skies over sleepy Bucks County, Pennsylvania … and wait for the voodoo-obsessed cleaning woman to show up in her rainbow-hued ensemble.” – Smithtown Matters

“Additionally, Jonathan Collins’ set is outstanding.” – Broadway World Reviews

ACS 12

ACS 12
“The sets, designed by Jonathan Collins, flow seamlessly from modest Parker home to classroom to the land of imagination” – NYTimes

“It would be remiss of me not to mention the most impressive set I have yet to see at this theater. Brilliantly designed by Jonathan Collins, it consists of multiple rolling pieces, sliding architecture and clever arrangement. With great props, and time period appropriate costuming by Tristan Raines the visual effect was complete.” –

“Also a highlight is Jonathan Collins’ fantastic – yet again! – set. Rolling pieces and smart arrangements abound with stunning props designed by Bryan Prywes.” – Broadway World



“on Jonathan Collins’ meticulously ostentatious set […] Sidney Bruhl’s lodge-like Connecticut home is a museum devoted to his career, replete with posters of his long-past hits and artifacts of scripted mayhem — from pistols to crossbows.” – Newsday

“Additionally, you can’t help but notice Jonathan Collins’ remarkable set that dresses the large stage of the Long Island venue. You will find yourself “wow”ing the single room set that is Sidney’s writing room is filled with masculine, mahogany touches and a partner’s desk as a focal point.” – Broadway World

“When your scribe walked to his assigned seat in the Engeman Theater, he was struck by the magnificent, massive murder scene that was the set, a Connecticut barn renovated to look like a 17th century interior. The giant glass chandelier, the priceless antique desk, the wall decorated with murder weapons from the lead character’s past theatrical efforts, even the upstage center hallway with stairs could not help but impress deeply. It was more opulent, more detailed, and more integrated than the one used in the Broadway version that your scribe enjoyed seeing never mind how long ago.” North Shore of Long Island

“The thing that’ll initially take your breath away is Jonathan Collins’ set. The Encore Award-winning scenic designer puts us in a writer’s study so appropriately appointed that we can virtually see and hear the gulls of Westport diving for baitfish in the nearby Sound.” – Smithtown Matters

“I have to begin by saying that the set designed by Jonathan Collins– which theatergoers admired before the show even began– is a masterpiece. The huge space with high ceilings has all the accoutrements of a luxurious rustic lodge and resonates with authenticity. Cranberry-hued walls and other furnishings in the same color family, like the cozy leather Chesterfield chairs and draperies, harmonize well with the dark wood beams. There’s a fieldstone fireplace and three mounted deer heads above the entrance into the room. Collections of knives, guns, and other weapons line the walls. It is the perfect man cave for playwright Sidney Bruhl (James Lloyd Reynolds) and the audience will soon learn that the weapons are either proud souvenirs from his successful stage productions or antiques.” – Northport Daily News

“Scenic Designer Jonathan Collins has achieved a marvelously detailed stage. Perfectly accentuated with lighting effects by Wilburn Bonnell, the vaulted ceilings, architectural details and many “windows” give the perfect feel to the show”


“But the visual star is Jon Collins’ re-creation of a swanky suite from the Plaza’s gilded past.” – Newsday

“Jonathan Collins […] is once again at the top of his game, and the result is nothing short of spectacular. A plethora of crown molding accented call to mind the tall ceilings common to old-time Manhattan hotels. The sitting room and the bedroom proper are adorned with luxurious accoutrements, including a crystal chandelier and sconces. The visual separation of these adjoining spaces is reinforced by a slightly different color palette. In the sitting room, raised panel rooms accented with gold echo the flowing golden draperies. The bedroom with its glamorous tufted velvet headboard, area rug and draped windows is more of a visual ode to blues and turquoises.” – Northport Daily News

“Movies about the famed Plaza aside, it’s necessary that the set for this trio of essentially one-act plays appear just as impressive as everyone knows the actual landmark venue to be. It’s a big order, but […] Jon Collins is more than equal to the task. The set’s gorgeous!” – Smithtown Matters

“Scenic Designer Jon Collin’s detailed set ably transports the audience into an intricate hotel suite.” NY Theater Guide


“This is a play in which production values matter, partly because appearances are important to most of the characters […] Fortunately, Jonathan Collins has designed a glossy living room for the Wyeths, in which every element is uniformly muted, top-quality and color-coordinated, even the Christmas tree that bears only carefully spaced silver and gold balls” – The New York Times

“The Wyeths’ Palm Springs house — a posh mountain-view ranch with a name-dropping gallery of photographs. The mantel centerpiece in this celebrity lineup is Nancy and Ronnie Reagan. Only the Christmas tree looms larger on Jonathan Collins’ impeccable set” – Newsday

“Jonathan Collins outdoes himself with an excellent Scenic creation that is pure Palm Springs” – Smithtown Matters

“Jonathan Collins’ sets never fail to impress me. The whole story takes place in the living room of Polly and Wyeth’s well-to-do home as Brooke and Trip are home for the holidays. The airy space is a beautiful vision” – Broadway World Reviews

“Jon Collins has once again created an amazing set […] This stylish room–decorated with sparse elegance in a medley of beiges, browns and a touch of gray–provides the perfect backdrop. Even the Christmas tree is in keeping with the muted palette. Nothing seems out of place-at least not in the room.” – Northport Daily News

Twelve2“The marvelously detailed set designed by Jonathan Collins, nicely lighted by Driscoll Otto, is a fitting complement. The scruffy jury room has an air of fading bureaucratic grandeur. Even the lighting fixtures, including one in a hallway outside, look authentic. An adjoining restroom, where some of the conversations take place, has just the right fixtures (and thankfully, a panel obscuring the urinal, which is sometimes discreetly used).” – The New York Times

“It might be a rarity when a theater critic begins his review by discussing the set. Well, your scribe is constrained to do exactly that upon seeing Engeman’s production of Reginald Rose’s “Twelve Angry Men.” A heap of kudos are offered to Scenic Designer Jonathan Collins for his re-creation of what had to be New York General Sessions Court Jury Room. It was a magnificent verisimilitude of the real thing. The old-fashioned high ceiling, the equally high windows, the well-used table, even a men’s room put the audience in a fly-on-the-wall position for the jury’s deliberations in a first-degree murder trial.” – Times Beacon Record

“Jonathan Collins, who is known for his spectacular sets, has created a masterpiece in keeping with the importance of the jurors’ mission: the pursuit of justice.” – Northport Patch

“Also a highlight was the remarkably detailed set, designed by Jonathan Collins, to which was complemented very well by Driscoll Otto’s lighting design. A water cooler, large table, and discolored cement color walls completed the industrial like jury room” – Broadway World

“As for this production’s set, sound, and lighting, all are top-notch…in fact, the set is as good as any this reviewer has seen recently.” – Smithtown Matters

Winner of the 2013 Long Island Encore Award for Best Set Design – “If ever a play demanded an authentic period set, this one does. Collins even provides twenty-foot ceilings and a looming portrait of then-president Eisenhower.”