"Brian Dudkiewicz’s elementally effective set, comprising chests and ropes, conjures a seafaring ambience." - The New York Times, Andy Webster  

"Full credit to the lighting (Gary Slootskiy), sound (Emily Auciello), costumes (Isabelle Simone) and set design (Brian Dudkiewicz). When a show is going well, even minor distractions prove a boon. The theater is so intimate and the cast standing offstage so nearby that you can hear the creaking of their feet on the wooden boards -- but thanks to the setting, it actually sounds like the creaking of a sailing ship and adds to the atmosphere." - Huffington Post, Michael Giltz 

"The production values are similarly strong. The handsome nautical set by Brian Dudkiewicz reminded Bill and me of the one for Peter and the Starcatcher and appropriately so since this show is not only set on a ship but deals with a contemporary group of lost boys and girls." - Broadway and Me 




"If art can make squalor vibrant and destitution sublimely beautiful, Horizon has done it again, opening up its stage to let the broken overpass of Brian Dudkiewicz's set careen toward the audience and tower over the piles of revenue-generating recyclable cans and plastic sheets that Hester uses to shelter her five children." - The Philadelphia Inquirer, Jim Rutter

"Horizon's design team vividly creates a gritty environment for the protagonists to inhabit, with a realistic set (Brian Dudkiewicz) that fabricates their makeshift vagrant home beneath a concrete and steel overpass, furnished with the detritus they pulled from city streets and dumpsters" - Phindie, Debra Miller

"The Design Team also needs mentioned for creating a realistic set that depicts an urban environment reminiscent of life underneath a city bridge. Brian Dudkiewicz created a cityscape environment as the Set Designer." - Theatre Sensation, Kelli Curtin

"Brian Dudkiewicz's set captures the bleakness and darkness of Hester's milieu. The comforters hung to create shelter upstage right look worn, dingy, and weather-beaten. All of Hester's surroundings look primitive. There is not a sign of beauty, nostalgia, or sentimentality anywhere. The railroad bridge looms ominously, and constant sense of fear, or apprehension, is established because Hester and her family as so much in the open and accessible to any attacker, ne'er do well, or social worker who wants to destroy the little enclave Hester has built." - NealsPaper


"Messina's production (he also directs) is exquisitely detailed. Scenic designer Brian Dudkiewicz replicates a tenement circa 1979: bursting at the seams with clothes and cookware, sparsely decorated with Christmas garland and pictures of Jesus. A large sofa bed takes center stage, sporting a print that could have only been inspired by a pool of vomit on Mulberry Street during the San Gennaro Festival" - Theater mania,  Zachary Stewart

"A wonderfully manifest, shabby, studio walk-up in Greenwich Village (Brian Dudkiewicz- Scenic Design/Addison Heeren-Props) is cheaply decked out for Christmas." -  Woman Around Town, Alix Cohen

"Kudos to Brian Dudkiewicz for creating a set that enhances the turmoil, aided by Catherine Siracusa's costumes and it all comes alive with Michael A. Megliola's lighting design" -  Theatre Pizzazz, Sandi Durell

"It's Christmas time in 1979 - cue the disco music - and we're in teh shabby, one-room, tenement apartment (convincingly designed by Brian Dudkiewicz) of a poor Italian-American family on Greenwich Village's Thompson Street" -  The Broadway Blog, Samuel L. Leiter

"We see the stress of Johnny trying to provide for his family in their cramped studio apartment (the sauced-up-shabby work of scenic designer Brian Dudkiewicz)." -  Talkin' Broadway, Matthew Murray

"No question that Charles Messina's 1970s childhood home - a studio apartment in Greenwhich Village (after Stonewall but before and pre-Reagan...all authentically detailed by Brian Dudkiewicz scenery and Catherine Siracusa's costumes - made a room of one's own a wish even the most eager-to-please Santa was unable to fill." -  Curtain Up, Elyse Sommer

"Among the show’s pluses is Brian Dudkiewicz scenic design. His detailed depiction of the Morellis’ cramped apartment (or, to get technical, Adult Carl’s memory of it) is first-rate." - Stage Buddy, Marc Dundas Wood

"Brian Dudkiewicz's set is marvelous, right down to the strategically placed Charlie's Angels board game, and Catherine Siracusa deserves special recognition for putting Mario Cantone in the most fantastically Cantone-y costume ever in the second act. These elements combine to smooth the play's rougher edges, giving the occasionally cartoonish proceedings some depth and definition." - The Easy, Brett Aresco

"Set designer Brian Dudkiewicz places the Morellis' drab, appropriately sloppy apartment within a picture frame, as if it's a living snapshot of what once was" -  This Week in NY, Mark Rifkin

"Messina gets some fun out of his playwright-as-arbiter concept. As Carl, setting the scene, reads from the script. "The apartment is decorated to the nines for the holidays," the lights up come up on Brian Dudkiewicz's amusingly run-down studio apartment se, with holiday cheer, such as it is, represented by two straggling little strands of garland and a tiny tree that appears to be suffering from malnutrition" "In addition to Dudkiewicz's beautifully observed set...." - Lighitng and Sound America, David Barbour

"Another memorable element in the play is the realistic setting by Brian Dudkiewicz. Cluttered, shabby, in need of painting, the Morelli apartment is so detailed that one could move into it - at one's peril." -, Victor Gluck

"The Tenement flat designed by Brian Dudkiewicz is a noisy expletive in its own right." - The Observer, Rex Reed

"Brian Dudkiewicz’s set design was pure delight with some very nice detail." -  Hi! Drama, Eva Heinemann


"Set in Jonah’s studio apartment, the audience enters through hallway set pieces behind the stage into a small auditorium, creating an intimate theatre experience. The stage includes a wide view of the living room/bedroom area and a portion of the hallway entrance, with an upstage kitchenette and bathroom. The full space is used by the actors, with a pull-out bed and air mattresses spread across the floor. The cozy set-up of the apartment along with the costume choices creates a comfortable and familiar view. Jonah’s disheveled look of messy hair, dress shirt and boxers and Daphna’s sweat pants and sweatshirts are typical of two cousins relaxing after a formal event." - Montreal Theatre Hub, Veronica Schnitzer

"Brian Dudkiewicz's set draws the audience into the arena by way of a connecting corridor before battle commences" - The Montreal Gazette, Jim Burke

"The set by Brian Dudkiewicz is wonderful! Imagine opening the door to the studio space and finding yourself in the corridor of the apartment building in which the action takes place!" - The Mtl Times, Sharman Yarnell

"With it's innovate set by Brian Dudkiewicz..." - WestmountMag, Bryon Toben


"Doherty is so likable that he makes it easy to root for him against the obnoxious forces that make his life so difficult. And he seems supremely comfortable on Brian Dudkiewicz's artfully cluttered set." - DC Metro Theater Arts, Tim Dunleavy

"The set (by Brian Dudkiewicz) and props (Sale Roth Nadel) evoke the basement's untended and cramped conditions, with dangling wires, utility boxes, stock-filled shelves, and messy work stations that contrast with the unseen upscale restaurant above." - Phindie, Debra Miller


"In its nature, the Dorothy Strelsin Theatre is a very intimate space, with the front row of seats nearly on the stage itself. Director Donald Brenner does a great job in managing the playing space, which without the correct staging could easily appear crowded. this is also a testament to the set, designed by Brian Dudkiewicz, which is simple and to the point: Act One takes place in Stan's apartment, standardly furnished and with much attention drawn to a liquor shelf; Act Two takes place in a villa in Mallorca, the tiny island off the coast of Spain. Though minimal in props and set pieces, the choice to be conservative works in favor of the production in this tiny space, and some quick changes o the furniture and decor swiftly transport the place from New York to Spain" - TheatreScene.Net, Ryan Mikita

"The simple set, designed by Brian Dudkiewicz is exquisite. He exploits every inch of the small theater and makes it feel like there’s more room than there actually is." - Theatre That Matters, Nicholas Linnehan

"Brian Dudkiewicz's set has this wonderful illuminated painting that cleverly sets the tone for Stan's Apartment and Mallorca." - Hi! Drama



"I have to applaud Brian Dudkiewicz for his set; which feels like a German Expressionist painting meets west coast housing development minus the desert hues and Kokopelli wall art. I’ve seen many ‘living room’ plays but never one with such a unique eye catching perspective. The use of an off center, slight vanishing point plus the angle of the apron on the proscenium kept me asking, “Why haven’t I seen this before?!” - On Stage, Steven Kopp

"The Beaumonts' living room itself makes a statement even sooner, though. Neat, bland, devoid of bright colors, the only artwork muted and abstract and barely noticeable, it's sort of a blank slate captured perfectly in Brian Dudkiewicz's elegant set design." -, Jon Sobel

"Urban Stages serves as a perfect home to the intimate play, with Brian Dudkiewicz's believable set inviting audience members into the uncomfortable evens of the neatly designed home." - Theatre is Easy, Geri Silver

"Throughout the evening, the cast litters set designer Brian Dudkiewicz's appropriately sterile and charmless living room with cigarette ashes, weapons, and bodily fluids" - TheatreScene.Net, Daniel J. Lee



"The set and costumes are both designed by Brian Dudkiewicz, and there is definitely a consistent style throughout. Minimalist with flashes of bright color, the clothing is sexy and trendy, and contributes to the overall theme of the play: costumed liberally, the whole production is steeped in sexuality” - TheatreScene.Net, Ryan Mikita



"The entire production unfolds on one of the most delicately crafted sets on Yale’s campus: The staging of “Abyss” is nothing short of incredibly impressive. Producer Kathleen Addison ’14 and set designer Brian Dudkiewicz DRA ’14 picked and transformed a venue — an off-campus house — to create the perfect blend of creepy and dazzling. The stage is vast and black, painted with piping, complete with ribbons hanging from the ceiling on which actors such as White performed acrobatics." - The Yale Daily News, Carolyn Lipka 



"Dobbins’ elegant staging makes use of the clever setting by Brain Dudkiewicz which uses the same set for both the homes of Mme. Alvarez and Great Aunt Alicia, but which puts the entrances to each at opposite ends of the playing area." -, Victor Gluck 



"MilkMilkLemonade has a lot on its plate, and a great, bright, kid-show-like set by Brian Dudkiewicz..."  - New Haven Review, Donald Brown 

*nominated for best set by the New Haven Review, 2012-2013 season



 "Special credit to set designer, Brian Dudkiewicz...the historical and ethnic space of The Yiddish King Lear."   - New Haven Review, Donald Brown

*nominated for best set by the New Haven Review, 2011-2012 season