Reviews

“The choreography by Jennifer Werner, scenic design by Roman Tatarowicz and lighting by Jess Creager are outstanding and all together make this show a do-not-miss.”
Essex News Daily
Beautiful, The Carole King Musical, Paper Mill Playhouse

“Much of this production is exceptional… Special recognition must be given to the set design by Roman Tatarowicz, as it is wonderful. I wasn’t the only audience member that stopped as we entered just to admire the view”
Delcoculturevultures.com
Who’s Afraid of Virginia Woolf, Walnut Street Theatre

“The large Walnut Street stage helps reinforce the grandeur at the heart of Cat. This is the kind of lavish plantation that millions of dollars can build… Roman Tatarowicz’s scenery cannily brings the outside into Brick and Maggie’s bedroom with an overhanging tree branch and a constructed wall of shutters, the latter a nice touch in reminding us that this open, airy house (Big Mama won’t allow closed doors) holds a lot of secrets.”
Parterre Box
Cat on a Hot Tin Roof, Walnut Street Theatre

“Roman Tatarowicz’ sumptuous set design transports the audience to a luxurious mansion in the deep south. Mary Folino’s costumes are beautifully designed and flawlessly executed. The production is so immersive, you can almost feel the humidity of a summer evening in Mississippi.”
Talkin Broadway
Cat on a Hot Tin Roof, Walnut Street Theatre

“…a sensational production of Rocky… Roman Tatarowicz’s meticulous set designs are dynamic and fun.”
Talkin Broadway
Rocky, the Musical, Walnut Street Theatre

“Rocky the Musical is full of the splash and energy and fun that we expect it to contain…It’s got magical moving sets featuring the pet shop’s aquariums, Rocky’s tiny apartment, even the boxing ring itself…”
Broad Street Review
Rocky, the Musical, Walnut Street Theatre

“The impressive Scenic Design by Roman Tatarowicz heightened by Julie Duro’s Lighting Design will leave you breathless.”
Philly Gay Calendar
Rocky, the Musical, Walnut Street Theatre

“Set designer Roman Tatarowicz provides an authentic-looking boxing ring, as well as shabby row house interiors and those magical steps.”
Philadelphia Inquirer
Rocky, the Musical, Walnut Street Theatre

“Roman Tatarowicz’s set transports the audience to the luxurious terrace, drawing room, and hall at Hunstanton Chase.”
Broad Street Review
A Woman of No Importance, Walnut Street Theatre

“Walnut Street Theatre’s production was transformed by an ingenious set by Roman Tatarowicz that turned three ways to give the play’s many locations an aesthetically pleasing and meaningful backdrop. The entire set, including furniture and props and even plants, are painted in beige and black stripes to give the illusion that the characters’ world was constructed on a piece of paper.
While beautiful to look at, Tatarowicz’s set serves to guide the audience to understand the two-dimensional, material lives of British socialites.”
Broadway World
A Woman of No Importance, Walnut Street Theatre

“When one walks into the theater, they are greeted by Roman Tatarowicz’s striking set. The lighted giant cube metaphorically becomes the box that Diana sees.”
Philly Life & Culture
Next To Normal, Bristol Riverside Theatre

“Roman Tatarowicz’s multilevel lightbox set smartly suggests all the material’s disparate elements, from domestic drama to rock concert to teenage love story.”
Broad Street Review
Next To Normal, Bristol Riverside Theatre

“Champagne flutes and brandy snifters abound…The surroundings drip Deco decadence…You have entered the world of Noel Coward, as realized in Pennsylvania Shakespeare Festival’s sparkling staging of Private Lives…they abscond to their love nest in Paris, which set designer Roman Tatarowicz renders with precise period detail.”
Broad Street Review
Private Lives, Pennsylvania Shakespeare Festival

“Set Designer Roman Tatarowicz’s Art Deco Paris apartment is eye-popping…”
Philadelphia Inquirer
Private Lives, Pennsylvania Shakespeare Festival

“…Walnut Street Theater absolutely knocked it out of the park. The set is magnificent and unlike anything you have ever seen before- audiences truly delve into the mind of Christopher Boone through a magical set that uses projections and stage magic. The design and the use of props is incredible and adds another entertaining layer to an already impressive story.”
Metro US
The Curious Incident of the Dog in the Night-Time, Walnut Street Theatre

“On Broadway, the play was most remarkable for its staging, an evocation of the boy’s mind through design… The Walnut’s production design is equally brilliant — an obviously close collaboration among Roman Tatarowicz (set design), Ryan O’Gara (lights), Christopher Ash (projections), and Christopher Colucci (sound). An intricate, constantly morphing grid of flashing, multicolored lights, reflecting Boone’s often overloaded neural circuitry, combines with ethereal projections of numbers, stars, and landscapes to magical effect.”
Philadelphia Inquirer
The Curious Incident of the Dog in the Night-Time, Walnut Street Theatre

“…the house may be the show’s star. The kitchen, TV room, and bedroom rule the roost in discrete areas, suffocating in their tidy practicality. The pastel décor is soporific. Huge and absurdly useless period lamps flank the bed like ceremonial canopic jars. It makes you want to tear your hair out; you know why Watson’s Bombeck feels homeless in her own house.”
Philadelphia Inquirer
At Wit’s End, Bristol Riverside Theatre

“Set designer Roman Tatarowicz transforms the Steinbright Stage into an industrial panorama. Overhead, rusted girders arch over the hardscrabble saloon. Behind a corner wooden bar, with its tidy stock of liquor bottles, is a rear wall of whorled factory glass, where we glimpse the moving shadows of characters about to enter the bar.”
Broad Street Review
Sweat, People’s Light

“Roman Tatarowicz’s brilliant, soaring set overtakes BRT’s stage. An enormous stairway stretches across the width of the stage and soars up 25 feet. The entire show is performed on this remarkably versatile white-grey staircase…”
Phindie
Jesus Christ Superstar, Bristol Riverside Theatre

“Roman Tatarowicz’s striking, bi-level set captures the decay of urban life in finely etched detail…”
DC Metro Theatre Arts
The Humans, The Walnut Street Theatre

“Thanks to Roman Tatarowicz’s realistic tenement set, Shon Causer’s abruptly diminishing lighting, and Christopher Colucci’s spooky sound design, this production gets the visuals and the sonic ambience right.”
Philadelphia Inquirer
The Humans, The Walnut Street Theatre

“…The Other Place is shrouded in mystery. The stage, thanks to set designer Roman Tatarowicz, is an eerie stream of blue-gray neurons cascading along the walls and back screen. Implanted in them are a few household articles, like forgotten memories from a faded past.”
The Philadelphia Inquirer
The Other Place, Walnut Street Theatre

“…Roman Tatarowicz’s magnificent, towering set…”
The Philadelphia Inquirer
Man of La Mancha, Bristol Riverside Theatre

“…a dandy set by Roman Tatarowicz.”
The New York Times
Apostasy, Urban Stages, NYC

“…Roman Tatarowicz has grasped the fundamental principle of elegant simplicity, transforming Bristol Riverside’s stage into a striking, Meier-inspired palace of an apartment. A trio of columns supports interlocking slabs, all of which sparkle a pristine white and glow in the azure and amber hues of Ryan O’Gara’s lighting.”
The Philadelphia Inquirer
A Raw Space, Bristol Riverside Theatre

“The set itself, designed by Roman Tatarowicz, echoes Barrymore’s crumbling grandeur. Bristol’s proscenium is replaced by a half-destroyed arch, its stage stripped to its inner workings.”
The Philadelphia Inquirer
Barrymore, Bristol Riverside Theatre

“The set design by Roman Tatarowicz… is brilliantly conceived and executed. Old set pieces are strategically stacked; swords and rapiers in one box, overturned chairs, platforms, stairs, a princely chair, theatre seats on the side, a piano, a table, some chairs, a dilapidated proscenium arch, torn curtains. Everything is perfectly placed…”
Stage Magazine
Barrymore, Bristol Riverside Theatre

“Roman Tatarowicz has supplied plenty of good sets for Capital Rep, but this dramatic, simple whitewashed frame might be his best work yet.”
Times Union
Crowns, Capital Rep.

“It’s an inviting scene, to be sure. The oddly angled doors of Roman Tatarowicz’s gleaming white set suggest the women hired a cubist painter as their interior designer. And on the back wall, in blank frames that serve as canvases for Alex Koch’s video projections, are choice bits of the great art works that Gertrude shrewdly collected. In this room, surely, there will be witty talk.”
Variety
27 Rue de Fleurus, Urban Stages, NYC

“Roman Tatarowicz’s attractive, light-filled set has Cubist angles and white frames enclosing shifting images.”
The New York Times
27 Rue de Fleurus, Urban Stages, NYC

“Roman Tatarowicz’ set design is striking and atmospheric…”
Talkin Broadway
Dr. Jekyll and Mr. Hyde, Bristol Riverside Theatre

“Roman Tatarwicz is deserving of the highest praise for providing a marvelously simple, yet elegant, stage design for the three distinct settings of this classic comedy. The two interiors, first of Moncrieff’s flat and later in the third act of the Conservatory at the Manor House work perfectly. My favorite was the designer’s splendid English garden setting for the second act. Stage hands work the flats, so the stage literally opens out, like a child’s folding picture book…The sets, as said above, are magnificent…”
Curtain Up
The Importance of Being Earnest, Jean Cocteau Rep. NYC