PORTFOLIO

NEW! Mary Poppins The Musical
Set Design | Young Peoples Theatre (Toronto) | Director, Thom Allison | Costumes, William Layton | Lighting, Jason Hand

"The show wins as a first-time theatre-going experience since Allison relies on the old-fashioned resources of the theatre rather than on projections or electronic effects to bring the magic of the show to life."
- Christopher Hoile, Now Magazine NNNN
"Brandon Kleiman’s set is efficient"
-Lynn Slotkin
"The two-story set by Brandon Kleiman is easily converted into a street scene and even a rooftop scene for the chimney sweeps. [it] is efficient and effective."
- James Karas Reviews

NEW! The Ballad of Stompin' Tom
Set Design | Sudbury Theatre Centre | Director, Rob Kempson | Lighting, Michelle Ramsay | Costumes, Miranda VanLogerenberg
(select photos by AJ Laflamme)

"Brandon Kleiman’s set perfectly captures the MTV aesthetic—a dizzying spiral that sucks us into Westerburg High School. "
- Istvan Dugalin, mooneyontheatre.com

"Brandon Kleiman’s vivid, multi-level set, complete with a screen for projections of videos and 1980s-styled graphics, is perfection."
- Debbie Fein-Goldback, NOW Magazine

Harvest
Set & Costume Design | Thousand Islands Playhouse | Director, Charlotte Gowdy | Lighting, Kaileigh Krysztofiak

"The technical elements of the show each do well to complement its staging. Brandon Kleiman’s ingenious set, featuring a series of stacked boxes painted with the sky and clouds that easily double as props demonstrates this production’s efficiency."
-Natasha Lomonossoff, Capitol Critics' Circle

My Name Is Asher Lev
Set & Costume Design | Harold Green Jewish Theatre Company & Studio180 | Director, Joel Greenberg |
Lighting, Kimberly Purtel | Photos, Dahlia Katz

"director Joel Greenberg directs a handsome, tasteful production designed by Brandon Kleiman"
- Glenn Sumi, NOW magazine

"Brandon Kleiman’s set of the interior of a Brooklyn apartment is striking and appropriately painterly"
- Karen Fricker, Toronto Star

"Brandon Kleiman's tiered wooden set thrusts like a shard into the Berkeley Street audience dividing it into two sections."
- Christopher Hoile stage-door.com

"McQueen makes good use of Brandon Kleiman's set, dominated by a series of wooden platforms
- Glenn Sumi, Now Magazine, NNNN/4

"Note Perfect, a Toronto musical theatre milestone"
- Globe and Mail, 3.5/4

"A Layered whirlwind of humour, grief and humanity"
- Toronto Star, 3.5/4

"Musical theatre perfection. Exquisite from start to finish"
-Broadway World Toronto

Undercover
Costume Design | Tarragon Theatre and Vertigo Theatre | Director, Rebecca Northan | Set/Lighting, Glen Davidson | Photos, Little Blue Lemon Inc.

"It looks like Northan has another killer hit on her hands
- Toronto, 3/4 stars
"So much fun, it's a crime!"
-Now magazine, NNNN

The Little Mermaid, The Musical
Costume Design/Co-ordination | Globe Theatre | Director, Stephanie Graham | Set, Sean Mulcahy | Lighting Design, Renee Brode
Photos, Chris Graham

Here we see costumes designed specifically for the Globe Theatre

Our Town
Costume Design | Theatre Rusticle | Director, Allyson McMackon | Lighting, Michelle Ramsay | Photos, Jeremy Mimnagh

"Brandon Kleiman’s costumes are understated in the first part but literally shine in the last... It’s an unforgettable ending."
- Jon Kaplan, Now Magazine. NNNN

"The cast's impressive physical performance is pushed further with the breathtaking transformation of the space using innovative lighting and costumes (designed by Michelle Ramsay and Brandon Kleiman respectively) that enhance the images created in this world.”
- Alexandra Caprara, The Theatre Reader

Moose On The Loose
Set & Costume Design | Sudbury Theatre Centre | Director, Caleb Marshall | Lighting, Simon Rossiter | Photos, Robert Provencher

Armstrong's War
Set Design | Sudbury Theatre Centre | Director, Caleb Marshall | Lighting, Michelle Ramsay | Costumes, Miranda VanLogerenberg

The Immigrant: An American Musical
Set & Costume Design | Harold Green Jewish Theatre | Director, Robert McQueen | Lighting, Kimberly Purtel

"Brandon Kleiman’s set and costumes are just right "
- Richard Ouzounian, The Toronto Star

Mockingbird - a new play by Rob Kempson
Set & Costume Design | Next Stage Theatre Festival | Director, Rob Kempson | Lighting, Michelle Ramsay.

"Out of the entire Next Stage lineup, Rob Kempson's high school staffroom comedic drama is the one you could pluck out of its festival context and plunk right down into almost any seasoned Toronto theatre. First of all, Brandon Kleiman’s costumes and set are beautifully monotone and drab with a level of thought and detail that’s rare for any festival. The large ensemble cast of 11 features some memorable performances. And Kempson’s script is funny and thoughtful."
3/4 starts, Carly Maga, Toronto Star.

"designer Brandon Kleiman hits it out of the park with Wing’s outfits; she’s every English teacher I ever had. Every festival has a must-see; this is it for Next Stage 2016."
Kelly Bedard, myentertainmentworld.com

"I also loved Brandon Kleiman’s set. "
Sam Mooney, mooneyontheatre.com

NNNN - Jon Kaplan, Now Magazine

A Christmas Carol - a new adaptation by Heather Davies
Set & Projection Design | Theatre North West | Director, Heather Davies | Lighting, Bryan Kenny | Costumes, Marian Truscott

"The set is conceptual - giant machine cogs and Dickensian imagery interspersed with the furniture and trappings of the 19th century - and wondrous in its size, layers and shapes."
- Frank Peebles, Prince George Citizen

"Brandon Kleiman’s minimalist, multi-tiered set is an urban showcase with steel girders set against a cityscape backdrop. Some very colourful characters pop out of this inner-city jungle and their interactions are swift and punchy. "
- Istvan Dugalin, Mooney on Theatre
" Brandon Kleiman has designed a very clever set that can change into the numerous interior and exterior locations in downtown Toronto that Walker demands."
- Christopher Hoile, Stage-door.com

A fast paced Italian comedy by Steve Galluccio set in a small Piazza in Naples, August 1952.

" Brandon Kleiman's 1950's costumes ... transport the audience to a Naples that's full of ageless appeal and small town charm". - Scott Overton, Northern Life.

Roughly 130+ costumes and 16 very talented students take us through the life of Peer Gynt, into the mountains, across the oceans, and back home. Part reality and part fantasy.

Mourning Dove
Set & Costume Design | Sudbury Theatre Centre | Director, Matthew Thomas Walker | Lighting, Jareth Li

"The set, by Brandon Kleiman, pulls us into Doug and Tina’s world in a personal and concrete way. It’s a place where Sandra and Keith enter as guests and sometimes interlopers, and where objects like a garden hose or shears take on multiple meanings." - Lara Bradley, Sudbury Star

Real Estate by Allana Harkin
Set Design | Sudbury Theatre Centre | Director, Shari Hollett | Lighting, Travis Hatt | Costume, Sara Pasmore

The Wedding Singer - The Musical
Set, Costume and Projection Design | Hart House Theatre | Director, Luke Brown | Lighting, Dominic Manca
Photo, Daniel Dimarco and Scott Gorman

" Brandon Kleiman’s costumes threw me right back into the 80s. He created a gorgeous landscape of colour and made every performer look fabulous. He worked double duty also creating a flashy, sleek set." - Nicole Fairbairn, thesceneinto.com

" It is quick, simple and effective, leaving lots of space to move, plus room for creative license. To set and costume designer Brandon Klieman- nicely done. " - Michael Piscitelli, Ontario Arts Review

"The set was radiant and rich with bright colours, glitter, and glam which gave off a flashy feeling fit for this production. ... and costumes that questioned the sanity of that decade filled the stage with excitement" - Adriana Alilovic - The Varsity

Romeo & Juliet
Set and Costume Design | Hart House Theatre | Director, Jeremy Hutton | Lighting, Andre du Toit | Photo, Daniel Dimarco

"And Brandon Kleiman’s set, atmospherically lit by Andre du Toit, morphs beautifully into a variety of locations.You know when a DJ booth transforms into Juliet’s balcony, you’re watching something special." - Glenn Sumi, Now Magazine NNNN

Cabaret
Set and Costume Design | Hart House Theatre | Director, Adam Brazier | Lighting, Siobhan Sleath | Photo, Daniel Dimarco

"I really loved the thoughtful production design. The set is framed by a charred and partially broken proscenium suggesting violence and decay, the costumes are appropriately sexy and each chorus member is given a unique costume treatment suggesting a distinct character." - Wayne Leung, Mooney on Theatre

"The gritty, theatrical aesthetic by costume and set designer Brandon Kleiman helps to blur the line between the two worlds forcing the audience to constantly question where the action is actually taking place." - Stuart Munro, The Carlebois Post

“... Brandon Kleiman’s set design, ... does a good job of recreating the grimy interior of a struggling indie music shop with stacks of vinyl and dilapidated shelving.” - NOW Magazine

“Brandon Kleiman’s set design is also stunning, as colourful lanterns are lowered from the ceiling during the dances and hang like stars over an elaborately created Gypsy caravan.” Medium Online

RENT
Set and Costume Design | Sheridan College / Mirvish Productions | Director, Lezlie Wade | Lighting, Kevin Fraser | Photo, John Jones

Film and Television