Please click on individual show titles from the drop menu for production images and archival credits.
Sonia BorkarMooney on Theatre
"I encourage everyone to watch this show. The script is great, the acting and direction are fantastic, the set couldn’t be more fitting and the trek is more than worth it. And if you don’t know much about the subject matter you will still be moved to tears and definitely learn a little bit about an important slice of history." (The Whipping Man, HGJT)
Randall KingWinnipeg Free Press
"Set designer Sean Mulcahy's two-tiered turntable set elegantly serves multiple settings and functions." (Buddy, The Buddy Holly Story. Rainbow Stage)
Dana EwachowMooney on Theatre
"There is no curtain at Theatreworks Productions’ Paulo & Daphne. We choose our seats and whisper quietly before the play begins. Our eyes return to the stage, because the allure of the set is too strong to keep in our peripheral vision. The set is a mess of an apartment. The couch is pulled out into a bed, covered in a tangle of sheets, hiding the body of a man." (Paulo And Daphne, Theatreworks)
"Griffin and set designer Sean Mulcahy have done away with the stage-dominating staircase and upper level, trading it in for depth onstage; an arch at upstage centre allows the actors to make dramatic entrances. It’s opened up the whole stage in a major way, too, allowing for physically ambitious scenes like a baseball game that goes off the rounds on base. The old stairway would have been difficult to work around for a scene that uses most of the stage—a scene where newcomer Nigel Downer in particular displays an expressive knack for physical comedy." (Dreams Really Do Come True [and other lies]. Second City)
Joff SchmidtCBC news
"...Director Carson Nattrass' production is snappily paced, using Sean Mulcahy's appealing, storybook-like set smartly, and incorporating some basic puppetry to help move the story along." (James and The Giant Peach, MTYP)
Martin MorrowGlobe and Mail
"When Lewis meets him, [Freud) the 83-year-old doctor and inveterate cigar smoker is near his end, battling an excruciatingly painful oral cancer that has rotted away part of his jaw. Portrayed with gentle sympathy by Coleman, he’s in a state of continuous agitation as he shuffles about his red-draped, artifact-cluttered study (assiduously designed by Sean Mulcahy)." (Freud's Last Session. HGJT)
Lynn SlotkinThe Slotkin Letter
"Everything takes place in Freud’s study, which looked just like I would have imagined. There are rich brocade curtains on the walls, carved dark wood furniture, dozens of classical and African sculptures covering the desks and shelves. And, of course, a couch, which both Freud and Lewis stretch out on at different times." (Freud's Last Session, HGJT)
Ryan PorterThe Star
"It must also be said that the set by Sean Mulcahy — a two-storey home made up of four rooms and furnished with no less than two Persian rugs; an assortment of books, vases, and lamps; four single beds; and a variety of throw pillows — is far more lavish than one can reasonably expect from a show of this scale. The details are so polished that there are even family photos hanging on the wall outside the boys’ bedroom door. That door is closed for most of the production." (Brighton Beach Memoirs, HGJT)
Kate WatsonThe Coast
"Beautifully directed by Rosemary Dunsmore..., and boasting a spectacular ruined cottage set by Sean Mulcahy, Beauty Queen is well worth seeing." (The Beauty Queen of Leenane, Neptune Theatre).
Natasha LomonossoffCapital Critics Circle
"All of the technical elements of the production work to effectively immerse the audience into the world of Midsummer. The set, designed by Sean Mulcahy, is a thoroughly authentic rendering of a typical British pub, complete with bars, a large wrap-around booth seat, and TVs at the back showing football. The tables and chairs set up before the main seating area for a few spectators to have a closer experience are also a nice touch." (Midsummer; A Play with Songs, TIP)
Andrea NemetzThe Chronicle Herald
"Sean Mulcahy won for set design but was not present. "The set design was so beautiful," says Vardy, a Newfoundland native who has been living in Halifax since the mid-1980s. "The whole ceiling was straw and I got to do a big Irish sky behind it. It was like lighting a painting. "
John CharetteThe Sudbury Star
"Part of the play's character has to do with the dimensions of the set, which Savoy attributes to set designer's Sean Mulcahy's inspired vision. "The entire set is on an angle and tilted forward, " says Savoy. "It's floating in a crooked space", he added. "As we all are."