“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.”
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…”
Dr. Jekyll and Mr. Hyde, Bristol Riverside Theatre

“Roman Tatarowicz’s set design is, to use that word again, magnificent. The place becomes a Spanish dungeon.”
Times Union
Man of La Mancha, Capital Rep.

“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…”
The Importance of Being Earnest, Jean Cocteau Rep. NYC

“Though Roses could indeed work without scenery, Roman Tatarowicz’s book-covered set with its handsome matching desk and chairs adds immeasurably to the pleasures of this production…”
Roses in December, Urban Stages, NYC

“Blue Heron Theatre and Mirth A Theatre Company’s production is directed by Bruce Levitt and features puppets by Ralph Lee and a functional and evocative set designed by Roman Tatarowicz. One has the feeling it is the framework created by Levitt, Lee and Tatarowicz that provides the support which makes the actors’ performance so powerful.”
The Puppet Master of Lodz, Blue Heron Theatre, NYC

“Director Keith Baker handles the tonal shifts well, making the play feel unified. He’s helped by Roman Tatarowicz’s striking set design, which rotates a few set pieces on a turntable against a wide-open background.”
UP, Bristol Riverside Theatre