Lauren Helpern – Scenic Designer
LAUREN HELPERN (Set Design) has designed scenery for numerous critically acclaimed productions including: 4000 Miles at LCT3 and Lincoln Center Theater, for which she won the Lortel Award; The Pulitzer Prize winner Disgraced, also at LCT3; The Model Apartment for Primary Stages, which was on Time Magazine’s and Ben Brantley’s New York Times’ Best of 2013 theater lists; Bad Jews at the Roundabout Theater Company, which was on AM New York’s 2013 top 10 list; and BUG at Barrow Street, for which she won the Obie. Other New York credits include: Voices in the Dark on Broadway at the Longacre; Bethany at the Women’s Project (also The Old Globe); The Loneliness of the Long Distance Runner and Chimichangas and Zoloft at the Atlantic Theater Company; Core Values and Now Circa Then at Ars Nova; Hit the Wall at Barrow Street; Escape at La Mama; Desperate Writers at the Union Square Theatre; The Irish Curse and Underneath the Lintel at the Soho Playhouse; The Amish Project at Rattlestick (also costumes), The Diary of a Teenage Girl at 3LD; productions for Manhattan Theater Club, Second Stage, Playwrights Horizons, Cherry Lane Theatre, stageFARM, New Georges, TheatreworksUSA, The Little Orchestra Society, and National Dance Institute. Her regional credits include Blue Man Group/Live at Luxor in Las Vegas, for which she won the Eddy award (also productions in Boston and Chicago); Always…Patsy Cline in Las Vegas and Los Angeles; Laguna Playhouse, Portland Center Stage, Pittsburgh Public Theater, Syracuse Stage, Theater J (DC), Prince Music Theater, Adirondack Theatre Festival, Denver Civic Theater, Stamford Center for the Arts, and Anchorage Opera. She has designed events and benefits for a diverse group of clients. Ms. Helpern also teaches set design and related topics. laurenhelpern.com
David Mamet’s GHOST STORIES at the Atlantic Theater. Lauren Helpern, Set Designer and Linda Cho, Costume Designer.
"Mr. Zigler’s productions — which feature a canny double-purpose set by Lauren Helpern..." Read more of Ben Brantley's review here.