ABOUT
Will Lowry is a multidisciplinary designer, a Creative Partner with Flux Theatre Ensemble (NYC), and an Assistant Professor of Theatre at Lehigh University (PA). He has designed scenery, costumes, and lighting for regional theaters and colleges around the country, including: Dupont Underground (DC), Mill Mountain Theatre (VA), Warehouse Theatre (SC), Playhouse on Park (CT), Birmingham Children's Theatre (AL), Red Mountain Theatre Company (AL), Glow Lyric Theatre (SC), Palace Theatre/Spirit of the Dance Productions (SC/UK), Curtain Call Theatre (NY), California Theatre Center (CA), Furman University (SC), Southeast Missouri State University (MO), Lehigh University (PA), Lafayette College (PA), College of Southern Nevada (NV), and numerous productions off-off Broadway in NYC. He served as assistant to the costume designer for After Midnight and Motown: the Musical, and he contributed to multiple other Broadway and off-Broadway productions as the studio assistant for six-time Tony-award winning costume designer William Ivey Long. In addition to design work, he has created commissioned graphics for the Broadway costume design teams of Big Fish, Cabaret, Baby It's You, and Addams Family as well as illustrations for the private sector.
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PRESS
AJAX IN IRAQ
Will Lowry’s fine set is dominated by a military camp tent and a carefully sculptured plot of brown sand, representing Iraq as seen on a map. - New York Times Will Lowry's set is the best "mash-up" of Iraq and Troy in the entire production. A blood-soaked tent fits easily into either world, and a map of Iraq drawn in sand on the ground, which is then effaced during the play, symbolizes the messiness of war in a simple but arresting manner. - Backstage With a set design by Will Lowry that is so elegant it creates the world while giving the chorus so much free space to move [. . .] Ajax in Iraq is a true achievement in ensemble, performance, and technical theatre. - Broadway World METRA: A CLIMATE REVOLUTION PLAY WITH SONGS
We meet our protagonists in a bar on the Outside, where scenic designer Will Lowry has turned an otherwise dingy cliché of a sitcom setting into an intoxicating hodge-podge of the lost and found. Laundry lines swoop to meet eclectic junk drawer clutter, as if merging the chaotic charm of a roadside antique store with the homespun charm of Playhouse Disney’s Out Of The Box - Broadway DNA CABARET RISING
The show comes close to sensory overload in the best way, which is thanks to its technical elements. Environment designer Will Lowry takes advantage of the gritty, spooky Underground by littering the space with spray-painted signs, bare-bones stalls where the Underground's residents peddle scraps, and plywood platforms that rumble down the exposed section of old metro track. It's a post-apocalyptic Wonderland that calls to mind video games like Fallout and Bioshock. And, like the best video games, the set pulls you into another world you can see, hear, and touch. -DC Metro Theatre Arts SPRING AWAKENING
Tension, too, exists in such places as Ida Bostian's costumes - which alternate between drab reality and colorful inner life - and Will Lowry's gorgeous set. With drops offs and steep angles (and Kevin Frazier's imaginative light design) the set adds its own sense of drama while also enhancing the play. - Broadway World ROCKY HORROR SHOW
Director Richard St. Peter, a Clemson University professor, has completely re-invented the wheel for this incarnation and set the musical in a 1970s night club designed by the amazing Will Lowry. His impressive two-story set features a catwalk and cabaret seating, lamé stage curtains and multiple points of entry including a staircase, trap door, ladder and a fire (or stripper) pole, which provides some of the show’s more memorable and entertaining entrances. - The Greenville News THE THREEPENNY OPERA
The show looks terrific. The design team — Will Lowry (sets), Margaret Rose Caterisano (costumes), Kevin Frazier (lighting and sound), Taylor Jensen (props) and Dakota Adams (make-up) — does first-rate work in evoking a grungy Victorian setting amid wooden scaffolding. - The Greenville News SANS MERCI
The technical elements are startlingly detailed, from Janie Bullard's Sound Design, Will Lowry's detailed Costume Designs, Charles Murdock's impressionistic yet livable set, Kia Rogers' Lighting Design, and Sarah Slagle's Prop Design, all are at the top of their game. - Broadway World |
GPS
[...] this was a highly compelling show, and I’m excited to see such a creative, innovative approach to puzzles and immersive theater being explored in a university setting. - REA Hivemind THE WANDERERS
Visually, Will Lowry’s set design adeptly distinguishes and unifies the two timelines, enhancing the play’s overall coherence. - Broad Street Review RUMORS
The elegant formal wear costumes by the great Will Lowry are impeccable and imaginative in Ms. Rubles’s case, a cocktail drenched in four different shades of green. - Carolina Curtain Call THE WIZ
Will Lowry's fanciful costumes are superb. - The Greenville News Costumer Will Lowry has really dug deep into barrel of innovation for the multitude of costumes. In addition to all of those costumes for the main roles described previously, he has laced the entire production with sweet touches of artistry [. . .] - Carolina Curtain Call JANE THE PLAIN
Will Lowry’s ingenious set design works hand in hand with the script’s narration, taking us from the halls of a high school to the depths of a forest and the middle of a lake. - New York Theatre Review I also want to point out the amazing scenic design by Will Lowry. Both low-fi and wonderfully clever, he set up a stage that’s somehow several high school memories all blended together. - The Arts Wire Weekly THE SEA CONCERTO
The production values, as always, are high: fabulous set by Will Lowry; costumes that elucidate and support the characters by Johanna Pan; moody and attractive lighting by Kia Rogers [. . . ] - Show Showdown WORLD BUILDERS
The strong performances, the likable and interesting characters (costumed so realistically by Stephanie Levin), Will Lowry’s inviting set, O’Donnell’s effective use of music, and the rest of the technical elements add up to a beautifully realized production. - Blog Critics The sense that we are being let into something hidden is immediately clear as we enter the space. Will Lowry’s set takes advantage of the church architecture of the theatre. The stage is a half-circle tiered arches and red curtains that give a sense that the play is taking place in a sort of music box, which is appropriate for a play about secret worlds. The space—made to look like the lounge of a drug center--is adorned with soothing shades of blues and greens, including a fantastic set of plus-sign shaped ottomans that I wanted to leap onto immediately. - New York Theatre Review SALVAGE
[Playwright Gus Schulenburg] is aided by the impressive attention to detail provided by set designer Will Lowry. Lowry takes the modest Losaida Center performance space and transforms it into a lived-in office/lounge. - Theatre is Easy |
GOOD GRIEF
Adding greatly to creating the right mood are Jairous Parker’s sound design and Will Lowry’s lighting; additional music is provided by Karen Smith. These elements evoke the right emotions and pull the audience into the fantastical aspects of the play as well. - Delco Culture Vultures When it happens, the lights flare blue across the stage; time seems to stop in the crucible of memory. This is of course how Nkechi remembers it: slightly unreal, somehow both fleeting and forever, lit under a cerulean glow, as if it were set upon a stage. - Broad Street Review ALMELEM
The lighting, by Will Lowry, is very complementary to the organic color schemes and to Lowry's simple yet effective design of wood and hanging sheets of parchment. As a result, the stage of The Brick has rarely looked better. - Lavender After Dark BLOODY BLOODY ANDREW JACKSON
Director Andrew Scoville and scenic designer Will Lowry use every inch of The Warehouse space to bring this musical to life. [. . .] Technically, the show is flawless. Will Lowry's set is stunning [. . .] - Broadway World Will Lowry's set is like nothing you've ever seen, at least not in Greenville. - Fete Greenville HAIR
And Will Lowry wins the pot brownie prize for his production design and lighting. The entire Playhouse is decorated with flower power and Day-Glo colors including its arena style stage with its playful merry-go-round. [. . .] His lighting cues are vast and really spectacular, particularly in the second act when Claude has a bad trip. - Carolina Curtain Call AM I DEAD?: THE UNTRUE NARRATIVE OF ANATOMICAL LEWIS, THE SLAVE
Heather Cohn’s muscular staging, aided by a strong creative team with superb scenic and production design by Will Lowry, creates a grand, thick atmosphere appropriate to the mythic setting. Among other things it brings us spectacular entrances. - Blog Critics The play places us a No Exit-eqsue kind of purgatory set in a 19th-century operating theatre, rendered in richly textured, haunting detail by designer Will Lowry. - New York Theatre Review The set, by Will Lowry, is wonderful, full of mystery and just the right amount of creepiness. - Show Showdown DEINDE
Will Lowry’s minimalist set design [. . .] is wonderfully evocative. - New York Press The set [...] was kept brilliantly and elegantly simple by designer Will Lowry. - The New York Review of Science Fiction PETER PAN
It’s a fast show and a fun show, with beautiful scenic design by Yoshi Tanokura, fun costumes by Will Lowry and a whole stage full of actors who don’t want to grow up. - AL.com HEARTS LIKE FISTS
Flux Theater Ensemble, including director Kelly O’Donnell, the design team featuring Will Lowry (scenes), Janie Bullard (sounds), Stephanie Levin (costumes), Kia Rogers (lights), and Adam Swiderski (fights) have produced such a tight, well envisioned and executed performance that you may forget you’re in Long Island City and not on Broadway. - Cultural Capitol Will Lowry’s scenic design is impressive, all pipes and frames that suggest a gritty urban feel without being too obtrusive. - Broadway World |
NEW PLAY DEVELOPMENT
MARIAN; OR, THE TRUE TALE OF ROBIN HOOD by Adam Szymkowicz - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2017.
Published by Samuel French
ONCE UPON A BRIDE THERE WAS A FOREST by Kristen Palmer - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2014.
Published by Broadway Play Publishing
SANS MERCI by Johnna Adams - NYC Premiere
Costume design, Flux Theatre Ensemble (NYC). 2013.
Published by Dramatists Play Service
HEARTS LIKE FISTS by Adam Szymkowicz - NYC Premiere
Scenic design, Flux Theatre Ensemble. 2012.
Published by Dramatists Play Service
DEINDE by Corinna Schulenburg - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2012.
Published by Underwords Press
AJAX IN IRAQ by Ellen McLaughlin - NYC Premiere
Scenic design, Flux Theatre Ensemble, 2011
Published by Playscripts, Inc.
GPS by the Lehigh University Department of Theatre - World Premiere
Creative Director, interactive design, and graphic design, Lehigh University (PA), 2021.
THE SWORD IN THE STONE by Shaan Sharma - World Premiere*
Lighting design, Birmingham Children's Theatre (AL), 2020.
*Postponed due to COVID-19 Pandemic.
UNDER(WORLD) by Strother Gaines, Jenny Splitter, and Dana Malone - World Premiere
Lead environment design, TBD Immersive (DC), 2019.
ALMELEM by Sean Williams - World Premiere
Scenic and lighting design, Gideon Productions (NYC), 2018
THE SEA CONCERTO by Corinna Schulenburg - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2018
Available via New Play Exchange.
ACT LIKE YOU KNOW: 10TH ANNIVERSARY SHOW - World Premiere
Lighting and projection designs, Lehigh University (PA), 2018
CABARET RISING by Strother Gaines, Dana Malone, and Jenny Splitter - World Premiere
Lead environment design. TBD Immersive (DC), 2018.
AM I DEAD?: THE UNTRUE NARRATIVE OF ANATOMICAL LEWIS, THE SLAVE by Kevin R. Free - World Premiere
Scenic and projection designs. Flux Theatre Ensemble (NYC), 2017.
WORLD BUILDERS by Johnna Adams - NYC and West Coast Premieres
Scenic designs. Flux Theatre Ensemble, 2017.
Available via New Play Exchange.
RIZING by Jason Tseng - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2016.
Available via New Play Exchange.
SALVAGE by Corinna Schulenburg - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2015.
Available via New Play Exchange.
JANE THE PLAIN by Corinna Schulenburg - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2014.
Available via New Play Exchange.
THE GOLDEN YEAR by Daniel Damiano - World Premiere
Scenic design, WorkShop Theatre Company (NYC), 2013.
Available via New Play Exchange.
DARK WATER by David Stallings - World Premiere
Scenic design, MTWorks (NYC), 2014.
Available via New Play Exchange.
HONEY FIST by August Schulenburg - World Premiere
Costume design, Flux Theatre Ensemble (NYC), 2013.
TUXEDO JUNCTION by Cheryl Davis - World Premiere
Scenic design, Birmingham Children's Theatre (NYC). 2011.
THE LESSER SEDUCTIONS OF HISTORY by Corinna Schulenburg - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2009.
THE BROKEN MACHINE by Liz Duffy Adams - Commissioned New Play
Lighting design, Lehigh University (PA), 2019.
Available via New Play Exchange.
Full credits for listed productions.
Scenic design, Flux Theatre Ensemble (NYC), 2017.
Published by Samuel French
ONCE UPON A BRIDE THERE WAS A FOREST by Kristen Palmer - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2014.
Published by Broadway Play Publishing
SANS MERCI by Johnna Adams - NYC Premiere
Costume design, Flux Theatre Ensemble (NYC). 2013.
Published by Dramatists Play Service
HEARTS LIKE FISTS by Adam Szymkowicz - NYC Premiere
Scenic design, Flux Theatre Ensemble. 2012.
Published by Dramatists Play Service
DEINDE by Corinna Schulenburg - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2012.
Published by Underwords Press
AJAX IN IRAQ by Ellen McLaughlin - NYC Premiere
Scenic design, Flux Theatre Ensemble, 2011
Published by Playscripts, Inc.
GPS by the Lehigh University Department of Theatre - World Premiere
Creative Director, interactive design, and graphic design, Lehigh University (PA), 2021.
THE SWORD IN THE STONE by Shaan Sharma - World Premiere*
Lighting design, Birmingham Children's Theatre (AL), 2020.
*Postponed due to COVID-19 Pandemic.
UNDER(WORLD) by Strother Gaines, Jenny Splitter, and Dana Malone - World Premiere
Lead environment design, TBD Immersive (DC), 2019.
ALMELEM by Sean Williams - World Premiere
Scenic and lighting design, Gideon Productions (NYC), 2018
THE SEA CONCERTO by Corinna Schulenburg - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2018
Available via New Play Exchange.
ACT LIKE YOU KNOW: 10TH ANNIVERSARY SHOW - World Premiere
Lighting and projection designs, Lehigh University (PA), 2018
CABARET RISING by Strother Gaines, Dana Malone, and Jenny Splitter - World Premiere
Lead environment design. TBD Immersive (DC), 2018.
AM I DEAD?: THE UNTRUE NARRATIVE OF ANATOMICAL LEWIS, THE SLAVE by Kevin R. Free - World Premiere
Scenic and projection designs. Flux Theatre Ensemble (NYC), 2017.
WORLD BUILDERS by Johnna Adams - NYC and West Coast Premieres
Scenic designs. Flux Theatre Ensemble, 2017.
Available via New Play Exchange.
RIZING by Jason Tseng - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2016.
Available via New Play Exchange.
SALVAGE by Corinna Schulenburg - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2015.
Available via New Play Exchange.
JANE THE PLAIN by Corinna Schulenburg - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2014.
Available via New Play Exchange.
THE GOLDEN YEAR by Daniel Damiano - World Premiere
Scenic design, WorkShop Theatre Company (NYC), 2013.
Available via New Play Exchange.
DARK WATER by David Stallings - World Premiere
Scenic design, MTWorks (NYC), 2014.
Available via New Play Exchange.
HONEY FIST by August Schulenburg - World Premiere
Costume design, Flux Theatre Ensemble (NYC), 2013.
TUXEDO JUNCTION by Cheryl Davis - World Premiere
Scenic design, Birmingham Children's Theatre (NYC). 2011.
THE LESSER SEDUCTIONS OF HISTORY by Corinna Schulenburg - World Premiere
Scenic design, Flux Theatre Ensemble (NYC), 2009.
THE BROKEN MACHINE by Liz Duffy Adams - Commissioned New Play
Lighting design, Lehigh University (PA), 2019.
Available via New Play Exchange.
Full credits for listed productions.