REFERENCES:
“conscientious, hard-working and intelligent…indispensable….vital..”
-Sam Shepard, Playwright
“ A fascinating artist……with a consistently high level of skill and care…”
-Allen Moyer, Scenic Designer, Grey Gardens
“…a very talented artisan…….the discipline and thoughtfulness required to do the job with skill is how he approaches most things in his life: with commitment and excellence.”
-Diane Fargo, Director scene painting certificate program at Boston University School of Theatre
“Intuitive…unique…..nurturing…executes quality designs…”
Jon Savage, Design & Production Head Director
Boston University School of Theatre. United Scenic Artist.
-Sam Shepard, Playwright
“ A fascinating artist……with a consistently high level of skill and care…”
-Allen Moyer, Scenic Designer, Grey Gardens
“…a very talented artisan…….the discipline and thoughtfulness required to do the job with skill is how he approaches most things in his life: with commitment and excellence.”
-Diane Fargo, Director scene painting certificate program at Boston University School of Theatre
“Intuitive…unique…..nurturing…executes quality designs…”
Jon Savage, Design & Production Head Director
Boston University School of Theatre. United Scenic Artist.
REVIEWS:
The Secret Death of Puppets:
"an exploration of the grotesque and the uncanny that defies logic yet stirs a primitive impulse in us... A pleasingly spine-tingling experience: half 'Rosemary's Baby' and half theater of the absurd." - Backstage.com
“They wander the labyrinthine passageways of the space, ducking behind the cluttered corners and autumnal foliage of Eric Berninghausen’s eerie set.” - Backstage.com
The Lieutenant of Inishmore:
“Set Designer Eric Berninghausen creates functional and aesthetically simplistic versatility in these transitory locations. Having the interior of Donny’s house existing beside the docks of the isle’s coast but succeeding in making them two separate entities is an impressive accomplishment in the MET’s unique space.” - DC Metro Theatre Arts
...very edgy and lively…...gruesomely good...nicely crafted rustic scenic design by Eric Beringhausen…. ” - Maryland Theatre Guide
….a scene that exemplifies the strength of this production, which is using simple elements expertly, to spectacular effect. - DC Theatre scene
“MET’s Lieutenant of Inishmore is brutal beauty” -DC theatre scene
Besharet:
“In the play Besharet by Chana Porter, both meanings are unraveled and dealt with in both modern and Jewish mystical ways. Eric Berninghausen’s set is itself evocative of this, with the front of the stage resembling a modern office with desk, stapler, rolodex, swivel chair, and right behind it a deck leading to a lake, surrounded by dry shrubs and what appear to be grey dunes.” - NYtheatre.com
“Curtains are rare or non-existent Off-Off Broadway which gives you the opportunity to attempt to puzzle out Eric Berninghausen’s moody, complicated setting. There’s an office desk here, a living room couch well over there and upstage, bulrushes, with something hidden in them,. And behind the desk, along side, planking. Aah, it’s a pier… And the blue, shifting light and shadow,, and the ripply walls… water. Somehow, all that comes together in the unfolding of the play….” - Theater Scene
“Eric Berninghausen's set was streamlined, pseudo-rough-hewn, and beautifully lit.”
-The Hub Review
One Man Two Guvnors:
"Considering the intimate black box spacing and constrictions therein of the MET stage, Scenic Designer Eric Berninghausen has set the bar to Olympus for production quality with this current production’s set design. Revealing no fewer than five completely different fully painted and decorated set platforms throughout the course of the show, Berninghausen is not only artistically skilled but masterfully creative and clever when it comes to executing such drastic changes in such a quaint space. His precision with and attention to detail really situates the show in 1963, what with the garish bright paint jobs on all the interior surfaces. The orange lava bursts inside the Clench penthouse, the hideous fuchsia and magenta circles upstairs in the dining quarters of The Cricketer’s Arms Pub, all of these color schemes and paint patterns scream of the overripe psychedelic but modernly trendy era of the mid 60’s in Brighton. Add to it the remarkably breathtaking and yet simply painted wharf and pier set layered in serene blues and you have a visual masterpiece for the show’s duration."
-Theatrebloom.com
