PUBLICATION
FEATURE: STAGE DIRECTIONS MAGAZINE: Illuminations Blog
ARTICLE: ETUDES: an online theatre & performance studies journal for emerging scholars:
Unfinished: A Collection
PANELIST/FEATURED GUEST : Collaborative Conversations, United States Institute for Theatre Technology (USITT), Live Stream. January 14, 2021.
ARTICLE: ETUDES: an online theatre & performance studies journal for emerging scholars:
Unfinished: A Collection
PANELIST/FEATURED GUEST : Collaborative Conversations, United States Institute for Theatre Technology (USITT), Live Stream. January 14, 2021.
PRESS AND PUBLISHED REVIEWS
IN THE HEIGHTS at Rubicon Theatre Company
Emily D0di, VC Reporter, NOVEMBER 2022
"There are many standout performances that take place on the impressive set designed by Christopher Scott Murillo. Together Murillo and lighting and projections designer Mike Billings, sound designer Danny Fiandaca, costume designer Abra Flores and prop designer Kevin Williams create a living, breathing environment that has the energy of a cityscape. The inspired crew also includes associate director Valeria Cossu, associate choreographer Mariana Herrera Juri, producer Stephanie A. Coltrin, production stage manager Korey Sanders and assistant stage manager Julia Donlon."
WET: A DACAmented Journey at Greenway Court Theatre
Martin Hernandez, STAGE RAW, NOVEMBER 2022
"Designer Christopher Scott Murillo’s innovative set places Alpharaoh on a raised platform with a large Mayan calendar painted on the floor, and while on either side of the stage are large gray monoliths that could easily represent courthouse walls or a Meso-American pyramid. Center stage is a plywood likeness of a framed but shattered mirror, fragmented like the lives of the undocumented, which designer Azra King-Abadi lights to suit Alpharaoh’s moods and, in key moments, with red, white, and blue hues. Sound and video designer Omar Ramos’ screen projections, showing Guatemalan and U.S. locales and actions, help set each setting a scene’s tone and place."
DESERT STORIES FOR LOST GIRLS at Native Voices/Latino Theatre Company
Eric A. Gordon, People's World, NOVEMBER 2022
"The creative team includes scenic and props designer Christopher Scott Murillo; lighting and projection design team Derek Christiansen and Ruby O’Brien; sound designer Mia Glenn-Schuster; costume designer Lorna Bowen (Muscogee Creek, Seminole, Cherokee); and dramaturg Courtney Elkin Mohler (Santa Barbara Chumash).
The stage set itself is almost a character in the play, with its far-off buttes, tumbleweeds, trees, and the dry earth and dust that seem to pervade even the interior of Rosa’s house. Weed-smoking Uncle Edgar, who has until now been caring for his senile mom, warns Carrie not to go outside: There are snakes in the back yard, homeless people in the front yard, and strange faces that suddenly loom up in the windows."
'57 CHEVY at SD REP
E.H. REITER, Broadwayworld.com, AUGUST 2021
"This 85-minute show has an excellent production design thanks to the entire team: scenic design by Christopher Scott Murillo, lighting by Mextly Couzin, sound by Matt Lescault-Wood, costumes by Carmen Amon, music by Fred Lanuzo. Cinematography by Tim Powell and projection design by Elizabeth Barrett bring the theatre experience to screen beautifully.
57 CHEVY is a fun and compelling look at family, generational and cultural differences, and the many ways the American dream can be achieved."
PAT LAUNER, Times of San Diego, JULY 2021
"The production is outstanding; the design work is superb: scenic design by Christopher Scott Murillo, lighting by Mextly Couzin, sound by Matt Lescault-Wood, costumes by Carmen Amon, music by Fred Lanuzo. And the filming is expert: cinematography by Tim Powell and projection design by Elizabeth Barrett. There’s even a treasure-trove of Franco family videos and photos at the end.
But the real joy, the source of exuberance and exhilaration, is watching Salinas gambol about that overstuffed garage and make every dusty item into something else, re-purposing seeming junk to create a memory, a family, a lifetime."
TROY, at HERO Theatre
EMILY HAWKINS, Stage Raw , NOVEMBER 2019, *Recommended*
"Troy’s technical elements usher the audience into Holly and Andie’s world of metal wire chairs and secondhand wardrobes. Maggie Dick’s costumes capture the essence of each character. Manny’s (DeForest Taylor) thuggishness is accentuated by his oversized Lakers Jersey and baggy sweats. Christopher Scott Murillo’s apartment building façade, Anthony Aguilar’s lighting and Jeremy J. Lee’s sound add heightened reality to the story, with their simulation of an impoverished neighborhood."
INTIMATE APPAREL, at NEW VILLAGE ARTS
DAVID DIXON, San Diego Story , OCTOBER 14, 2019
"Christopher Scott Murillo’s set depicts New York with authenticity and Michael Rathburn’s lighting visually serves to enhance the attraction that some of the characters share for others."
CAROL DAVIS, Carol's Theatre Reviews , OCTOBER 14, 2019
"Christopher Scott Murillo’s s detailed multi level set, with period colors, wallpaper, sewing machine, several rooms, all different in décor separating one location from the other, is picture perfect on the long stage of the NVA."
RAGTIME, the musical at CHANCE THEATER
DARYL H. MILLER, Los Angeles Times , JULY 11, 2019
"Resources are ingeniously marshaled so that everything looks bigger and more populated than it is. The set (by Christopher Scott Murillo) looks like a factory interior, with giant cogs and sliding metal doors. A pile of wood crates becomes a set of building blocks; stacked just right, a couple of them become, for instance, an upright piano."
MICHAEL QUINTOS, Broadwayworld.com, JULY 19, 2019
"With this in mind, scenic designer Christopher Scott Murillo's static but cleverly comprehensive set is an intriguing mashup of a modern-day industrial warehouse but decorated with giant gears and metallic surfaces reminiscent of those seen in turn-of-the-century factories and steam engines. Even better, Murillo uses many inventive details and features that allow his useful set to easily stand in for (and convert into) 1906 structures in a very abstract way that forces you to reassess the visuals as representative rather that an accurate reflection of realism.
In collaboration with props designer Danthi Tran, an upright piano, a passing ship, or even a brand-spanking new Model T Ford are brought to life not with actual props or sets that visually resemble their real-life counterparts, but rather with deconstructed objects where the missing connective components are filled in with your imagination. Thus, simple wooden crates turn into a piano, and a squared-off bench on rollers becomes the seating carriage of a car. By all accounts, this RAGTIME is purposefully blurring the line between retro and modern."
ANNA IN THE TROPICS at OPEN FIST THEATRE COMPANY
MARGARET GRAY, Los Angeles Times , MAY 20, 2019
“ Their doomed world is gracious: Christopher Scott Murillo’s brick-walled factory is orderly and clean, and Mylette Nora’s white period dresses look effortlessly elegant. But life is also a bit dull, especially for Santiago’s two daughters, the unhappily married Conchita (Presciliana Esparolini) and the ripe teenager Marela (Jade Santana)."
STEPHEN FIFE, Stage Raw, MAY 2019
"Rivera is well-served by his designers, who have created a highly inviting environment. Set designer Christopher Scott Murillo gives us a cigar factory that has a family feeling to it, with wooden tables and benches, high ceilings and hanging lamps. Lighting designer Matt Richter relays the brightness of a Florida morning, when everything seems possible, elsewhere recreating the sexy shadows of a burgeoning romance."
SMOKEY JOE'S CAFE at NEW VILLAGE ARTS
JAMES HEBERT, The San Diego Union Tribune, February 4, 2019
“The production also gets ace work from the onstage band; they’re tucked into the corner of Christopher Scott Murillo’s attractive set, with its eye-catching array of bottles. The show’s look is flattered by Chris Renda’s moody lighting, and Bryon Andersen’s sound design is sharp and concert-like. Samantha Vesco’s smart array of costumes also bring visual pop."
THE GLASS MENAGERIE at INTERNATIONAL CITY THEATRE
STEVEN STANLEY, stagescenela.com, August 30, 2018
“Enhancing Williams’ words every step of the way are Murillo’s real-meets-surreal set, Norr’s evocative lighting that illuminates Laura’s glass figurines as if from within (kudos to resident properties designers Gordon and Patty Briles), and sound designer Davis’s wistful musical underscoring."
HAVING OUR SAY: The Delany Sisters' First 100 Years at NEW VILLAGE ARTS
JAMES HERBERT, The San Diego Union-Tribune, May 22, 2017
"As they rove around the kitchen of their shared home (designed with impressive detail by Christopher Scott Murillo), and prepare a feast to celebrate the birthday of their late father — the nation’s first elected black Episcopal bishop — the Delanys speak to the audience as if we’ve dropped in for dinner."
CHRIS JENNEWEIN, Times of San Diego, June 13, 2017
"This may be the most elaborate and detailed interior set ever at New Village Arts (thanks to scenic designer Christopher Scott Murillo), from the lace curtains and antimacassars to the fully working kitchen. The light pouring through the windows (designed by AJ Paulin) is also very effective."
DALLAS NON STOP at PLAYWRIGHTS' ARENA
F. KATHLEEN FOLEY, The Los Angeles Times, November 20, 2013
“The thoroughly stylish staging is buoyed by superlative design elements – most particularly Christopher Scott Murillo’s runway-like set…"
STEEL MAGNOLIAS at EAST WEST PLAYERS
LOVELL ESTELLl III, LA WEEKLY, September 26, 2013
“Hiwa Bourne does the honors as the sassy, opinionated Truvy, whose small-town Louisiana hair salon (well designed and accoutered by Christopher Scott Murillo) is a gathering spot for a small group of gal pals."
JUNE KURISU, The Rafu Shimp; Los Angeles Japanese Daily News, September 27, 2013
“...the interior of Truvy’s Beauty Salon is scenic designer Christopher Scott Murillo’s masterpiece: The colors and furniture placement are a true beauty to behold."
MICHAEL FORD, stagehappenings.com, September 2013
“The scenic design by Christopher Scott Murillo in this production is detail perfect right down to the pins and rollers and multi color nail polish and remover resting on their trays; with the realistic touches you can almost feel the hair spray alive in the air. "
BLOODY BLOODY ANDREW JACKSON at CHANCE THEATER
Eric Marchese, Orange County Register, July 14, 2013
“Christopher Scott Murillo's primitive tavern set design vigorously reflects the rough-and-tumble of the American frontier circa the late 18th and early 19th centuries..."
Steven Stanley, stagescenela.com, July 10, 2013
“Christopher Scott Murillo’s striking dark-wooded scenic design extends almost all the way into the lobby making it one of the rising design star’s finest sets to date.”
Emily D0di, VC Reporter, NOVEMBER 2022
"There are many standout performances that take place on the impressive set designed by Christopher Scott Murillo. Together Murillo and lighting and projections designer Mike Billings, sound designer Danny Fiandaca, costume designer Abra Flores and prop designer Kevin Williams create a living, breathing environment that has the energy of a cityscape. The inspired crew also includes associate director Valeria Cossu, associate choreographer Mariana Herrera Juri, producer Stephanie A. Coltrin, production stage manager Korey Sanders and assistant stage manager Julia Donlon."
WET: A DACAmented Journey at Greenway Court Theatre
Martin Hernandez, STAGE RAW, NOVEMBER 2022
"Designer Christopher Scott Murillo’s innovative set places Alpharaoh on a raised platform with a large Mayan calendar painted on the floor, and while on either side of the stage are large gray monoliths that could easily represent courthouse walls or a Meso-American pyramid. Center stage is a plywood likeness of a framed but shattered mirror, fragmented like the lives of the undocumented, which designer Azra King-Abadi lights to suit Alpharaoh’s moods and, in key moments, with red, white, and blue hues. Sound and video designer Omar Ramos’ screen projections, showing Guatemalan and U.S. locales and actions, help set each setting a scene’s tone and place."
DESERT STORIES FOR LOST GIRLS at Native Voices/Latino Theatre Company
Eric A. Gordon, People's World, NOVEMBER 2022
"The creative team includes scenic and props designer Christopher Scott Murillo; lighting and projection design team Derek Christiansen and Ruby O’Brien; sound designer Mia Glenn-Schuster; costume designer Lorna Bowen (Muscogee Creek, Seminole, Cherokee); and dramaturg Courtney Elkin Mohler (Santa Barbara Chumash).
The stage set itself is almost a character in the play, with its far-off buttes, tumbleweeds, trees, and the dry earth and dust that seem to pervade even the interior of Rosa’s house. Weed-smoking Uncle Edgar, who has until now been caring for his senile mom, warns Carrie not to go outside: There are snakes in the back yard, homeless people in the front yard, and strange faces that suddenly loom up in the windows."
'57 CHEVY at SD REP
E.H. REITER, Broadwayworld.com, AUGUST 2021
"This 85-minute show has an excellent production design thanks to the entire team: scenic design by Christopher Scott Murillo, lighting by Mextly Couzin, sound by Matt Lescault-Wood, costumes by Carmen Amon, music by Fred Lanuzo. Cinematography by Tim Powell and projection design by Elizabeth Barrett bring the theatre experience to screen beautifully.
57 CHEVY is a fun and compelling look at family, generational and cultural differences, and the many ways the American dream can be achieved."
PAT LAUNER, Times of San Diego, JULY 2021
"The production is outstanding; the design work is superb: scenic design by Christopher Scott Murillo, lighting by Mextly Couzin, sound by Matt Lescault-Wood, costumes by Carmen Amon, music by Fred Lanuzo. And the filming is expert: cinematography by Tim Powell and projection design by Elizabeth Barrett. There’s even a treasure-trove of Franco family videos and photos at the end.
But the real joy, the source of exuberance and exhilaration, is watching Salinas gambol about that overstuffed garage and make every dusty item into something else, re-purposing seeming junk to create a memory, a family, a lifetime."
TROY, at HERO Theatre
EMILY HAWKINS, Stage Raw , NOVEMBER 2019, *Recommended*
"Troy’s technical elements usher the audience into Holly and Andie’s world of metal wire chairs and secondhand wardrobes. Maggie Dick’s costumes capture the essence of each character. Manny’s (DeForest Taylor) thuggishness is accentuated by his oversized Lakers Jersey and baggy sweats. Christopher Scott Murillo’s apartment building façade, Anthony Aguilar’s lighting and Jeremy J. Lee’s sound add heightened reality to the story, with their simulation of an impoverished neighborhood."
INTIMATE APPAREL, at NEW VILLAGE ARTS
DAVID DIXON, San Diego Story , OCTOBER 14, 2019
"Christopher Scott Murillo’s set depicts New York with authenticity and Michael Rathburn’s lighting visually serves to enhance the attraction that some of the characters share for others."
CAROL DAVIS, Carol's Theatre Reviews , OCTOBER 14, 2019
"Christopher Scott Murillo’s s detailed multi level set, with period colors, wallpaper, sewing machine, several rooms, all different in décor separating one location from the other, is picture perfect on the long stage of the NVA."
RAGTIME, the musical at CHANCE THEATER
DARYL H. MILLER, Los Angeles Times , JULY 11, 2019
"Resources are ingeniously marshaled so that everything looks bigger and more populated than it is. The set (by Christopher Scott Murillo) looks like a factory interior, with giant cogs and sliding metal doors. A pile of wood crates becomes a set of building blocks; stacked just right, a couple of them become, for instance, an upright piano."
MICHAEL QUINTOS, Broadwayworld.com, JULY 19, 2019
"With this in mind, scenic designer Christopher Scott Murillo's static but cleverly comprehensive set is an intriguing mashup of a modern-day industrial warehouse but decorated with giant gears and metallic surfaces reminiscent of those seen in turn-of-the-century factories and steam engines. Even better, Murillo uses many inventive details and features that allow his useful set to easily stand in for (and convert into) 1906 structures in a very abstract way that forces you to reassess the visuals as representative rather that an accurate reflection of realism.
In collaboration with props designer Danthi Tran, an upright piano, a passing ship, or even a brand-spanking new Model T Ford are brought to life not with actual props or sets that visually resemble their real-life counterparts, but rather with deconstructed objects where the missing connective components are filled in with your imagination. Thus, simple wooden crates turn into a piano, and a squared-off bench on rollers becomes the seating carriage of a car. By all accounts, this RAGTIME is purposefully blurring the line between retro and modern."
ANNA IN THE TROPICS at OPEN FIST THEATRE COMPANY
MARGARET GRAY, Los Angeles Times , MAY 20, 2019
“ Their doomed world is gracious: Christopher Scott Murillo’s brick-walled factory is orderly and clean, and Mylette Nora’s white period dresses look effortlessly elegant. But life is also a bit dull, especially for Santiago’s two daughters, the unhappily married Conchita (Presciliana Esparolini) and the ripe teenager Marela (Jade Santana)."
STEPHEN FIFE, Stage Raw, MAY 2019
"Rivera is well-served by his designers, who have created a highly inviting environment. Set designer Christopher Scott Murillo gives us a cigar factory that has a family feeling to it, with wooden tables and benches, high ceilings and hanging lamps. Lighting designer Matt Richter relays the brightness of a Florida morning, when everything seems possible, elsewhere recreating the sexy shadows of a burgeoning romance."
SMOKEY JOE'S CAFE at NEW VILLAGE ARTS
JAMES HEBERT, The San Diego Union Tribune, February 4, 2019
“The production also gets ace work from the onstage band; they’re tucked into the corner of Christopher Scott Murillo’s attractive set, with its eye-catching array of bottles. The show’s look is flattered by Chris Renda’s moody lighting, and Bryon Andersen’s sound design is sharp and concert-like. Samantha Vesco’s smart array of costumes also bring visual pop."
THE GLASS MENAGERIE at INTERNATIONAL CITY THEATRE
STEVEN STANLEY, stagescenela.com, August 30, 2018
“Enhancing Williams’ words every step of the way are Murillo’s real-meets-surreal set, Norr’s evocative lighting that illuminates Laura’s glass figurines as if from within (kudos to resident properties designers Gordon and Patty Briles), and sound designer Davis’s wistful musical underscoring."
HAVING OUR SAY: The Delany Sisters' First 100 Years at NEW VILLAGE ARTS
JAMES HERBERT, The San Diego Union-Tribune, May 22, 2017
"As they rove around the kitchen of their shared home (designed with impressive detail by Christopher Scott Murillo), and prepare a feast to celebrate the birthday of their late father — the nation’s first elected black Episcopal bishop — the Delanys speak to the audience as if we’ve dropped in for dinner."
CHRIS JENNEWEIN, Times of San Diego, June 13, 2017
"This may be the most elaborate and detailed interior set ever at New Village Arts (thanks to scenic designer Christopher Scott Murillo), from the lace curtains and antimacassars to the fully working kitchen. The light pouring through the windows (designed by AJ Paulin) is also very effective."
DALLAS NON STOP at PLAYWRIGHTS' ARENA
F. KATHLEEN FOLEY, The Los Angeles Times, November 20, 2013
“The thoroughly stylish staging is buoyed by superlative design elements – most particularly Christopher Scott Murillo’s runway-like set…"
STEEL MAGNOLIAS at EAST WEST PLAYERS
LOVELL ESTELLl III, LA WEEKLY, September 26, 2013
“Hiwa Bourne does the honors as the sassy, opinionated Truvy, whose small-town Louisiana hair salon (well designed and accoutered by Christopher Scott Murillo) is a gathering spot for a small group of gal pals."
JUNE KURISU, The Rafu Shimp; Los Angeles Japanese Daily News, September 27, 2013
“...the interior of Truvy’s Beauty Salon is scenic designer Christopher Scott Murillo’s masterpiece: The colors and furniture placement are a true beauty to behold."
MICHAEL FORD, stagehappenings.com, September 2013
“The scenic design by Christopher Scott Murillo in this production is detail perfect right down to the pins and rollers and multi color nail polish and remover resting on their trays; with the realistic touches you can almost feel the hair spray alive in the air. "
BLOODY BLOODY ANDREW JACKSON at CHANCE THEATER
Eric Marchese, Orange County Register, July 14, 2013
“Christopher Scott Murillo's primitive tavern set design vigorously reflects the rough-and-tumble of the American frontier circa the late 18th and early 19th centuries..."
Steven Stanley, stagescenela.com, July 10, 2013
“Christopher Scott Murillo’s striking dark-wooded scenic design extends almost all the way into the lobby making it one of the rising design star’s finest sets to date.”