PRINT MEDIA PRESS: SELECTED THEATER REVIEWS
A Language of Our Own (1995)
Vincent Canby, New York Times, April 21, 1995
"Mr. Ong has given "A Language of Their Own" a smoothly fluid production within Myung Hee Cho's handsome, uncluttered set, an open playing area defined by a series of low platforms and by Scott Zielinski's lighting design. The only decor as such: a small stand of white birches at stage right. The spare look is absolutely right for the way in which it offsets and sometimes frames Mr. Yew's ripe language."

WIT (1997)
Peter Marks, New York Times, November 28, 1997
"The intermissionless play is constructed as a series of vignettes narrated by Vivian and orchestrated starkly and briskly by the director, Derek Anson Jones, on Myung Hee Cho's purposefully sterile set of turquoise hospital doors and gleaming hospital beds."

Gertrude and Alice (1999)
Ben Brantley, New York Times, June 4, 1999
"There's an organic melding here of style and substance, a musical sweep echoed in the beautifully conceived set (Myung Hee Cho) and lighting (Mimi Jordan Sherin), which combine to create the sense of an animated Cubist painting."

Gertrude and Alice (1999)
Charles Isherwood, VARIETY, June 13, 1999
"Myung Hee Cho's setting is an attractive cubist study in grays that features minimal furniture and a red handbag and hat displayed iconically."

Gertrude and Alice (1999)
Michael Feingold, Village Voice, June 15, 1999
"Instead of a literal 27, rue de Fleurus, its walls jammed with the Cubist canvases everyone knows by heart, set designer Myung Hee Cho puts Stein and Toklas in a light-toned, airy space."

WIT (1999-2000)
Robert Daniels, VARIETY
"Myung Hee Cho's gleaming hospital set and Michael Chybowski's dramatic lighting are integral elements of a production of stylization and unblinking realism."

Running Man (1999-2000)
Peter Marks, New York Times, March 5, 1999
"...the set designer Myung Hee Cho's evocation of the Virginia slave cemetery where, symbolically anyway, the story of the running man intermingles with the dusty history of his ancestors..."

WIT (2000)
Michael Phillips, Los Angeles Times, Jan 28, 2000
"Scenic designer Myung Hee Cho's abstracted university hospital setting is carved into various playing spaces by a noisy, rapid pull of white curtains."

36 Views (2001)
Robert Hurwitt, San Francisco Chronicle, September 14, 2001
"The complex contradictions of Darius' (erotic as well as artistic) love and exploitation of Asian beauty, and of the Asian American characters' attitudes toward their heritage, are reflected in Myung Hee Cho's chic suits and sumptuous kimonos, and erupt in bursts of Kabuki or blasts of punk rock and atonal samisen feedback."

Swimming With Watermelons (2002)
Bruce Weber, New York Times, April 19, 2002
"Myung Hee Cho (sets)... the directors have collaborated on some savvy and original effects. Among them are the image of a painting created in shadow behind a Japanese screen, and the illusion of an automobile (headlights and windshield wipers included) created by two kneeling, kimono-clad performers, who serve silently in various set-supporting functions throughout the play."

Swimming With Watermelons (2002)
Charles Isherwood, VARIETY, April 11, 2002
"The production has an intentionally low-budget, let's-put-on-a-show aesthetic; the changing of seasons is indicated by a flurry of confetti -- cherry blossoms or snowflakes or autumn leaves -- being unceremoniously dumped over the front curtain (the simple, comical sets are by Myung Hee Cho)."

Unbroken Thread (2003)
Jennifer Dunning, New York Times, May 9, 2005
"Ms. Chen's 2003 "Unbroken Thread" . . . revolves around a formidable hanging rope sculpture by Ms. Cho. It is as complex a tangle as life itself. Dancers tumble from within it and go on to enact fraught suggestions of passing scenarios."

Unbroken Thread (2003)
Eva Yaa Asantewaa, Village Voice, Dec 9, 2003
"Nai-Ni Chen'sUnbroken Thread feels like a big dream with "scary" archetypal elements that actually exhilarate rather than terrify. Dancers are secreted within or attached to a mass of thick, knotted ropes (designed by Myung Hee Cho), spilling from the theater's overhead grid, that become props, delineations of space, definitions of relationship."

Romance of Magno Rubio (2003)
Joel Hirschhorn, VARIETY, Nov 25, 2003
"Myung Hee Cho's costumes have a realistically shabby, dirt-stained feeling."

A Distant Shore (2005)
Laura Hitchcock, Curtain Up, 2005
"Reincarnation is used vividly in both characters and set. Myung Hee Cho, who also designed the exquisite costumes, created the set of stunning pillars which evoke the haunting natural beauty of rubber trees in Act One. In Act Two, they metamorphose into glittering skyscrapers."

Le nozze de Figaro (2005) Chicago Opera Theater
Wynne Delacoma, Chicago Sun-Times, May 6, 2005
"The chic, minimalist decor of set designer Robert Brill gave the action a nicely brittle edge, along with the splashy florals of Myung Hee Cho's costumes and Beverly Emmons' subtle lighting. In the final act's shimmering light and shadows, we could almost feel Miami's sensuous heat and humidity rising from an invisible pool."

Flight (2005)
Joel Hirschhorn, VARIETY, Jan 26, 2005
"Myung Hee Cho's realistic yet magical set, with tree trunks, ferns and overhanging gray-green moss, transports us to an earlier time . . ."

Flight (2005)
Laura Hitchcock, CurtainUp, 2005
"Myung Hee Cho uses earth tones and varied patterns to create costumes that express the character of the community and has created a mysterious woodland setting whose trees drip Spanish moss and serve as refuge and escape."

Citizen 13559 (2006)
Celia Wren, The Washington Post, March 15, 2006
"the visual aesthetic is stark and presentational, as perhaps befits a memory play, with the set consisting largely of wooden chairs that configure to evoke various locations. Strands of wire and a fabric desert backdrop complete the vista in the internment-camp scenes, and set designer Myung Hee Cho is also responsible for the effective period costumes."

The Piano Teacher (2007)
Bob Verini, VARIETY, March 25, 2007
"Ensconced in her sparsely appointed living room, which oozes shabby gentility in Myung Hee Cho's detailed design, the elderly widow known to all as "Mrs. K" (Linda Gehringer) invites us to tea and pleads for our sympathy."

The Piano Teacher (2007)
Theater Times, March 2007
"...Myung Hee Cho takes what might have been constraints of the production concept and turns them into complementary statements in their own right. Walls that must be left bare for upstage reveals tell of a home without family photos, paintings or bookshelves. It is, in fact, a household turning its back on its history. That same wall, arcing like a concert hall band shell, recalls the world of musical performance."

System Wonderland (2007)
Charles McNulty, Los Angeles Times, March 5, 2009
"The production... features an attractive beachfront home designed by Myung Hee Cho. One could very well imagine the spread in Architectural Digest, circa 1974, and the fabulous parties that must have taken place there."

The Word Begins (2007)
Michael Toscano, Theatermania, 2007
"The pair performs on a minimalist, post-modern set designed by Myung Hee Cho that features nine large video screens, proving once again that pictures are also worth quite a few words."

Goldfish (2009)
Paul Hodgins, The Orange County Register, 2009
"Myung Hee Cho's set is spare yet revealing; Margaret's living room hints of faded gentility, Leo's kitchen of resigned futility."

Futura (2010)
Dany Margolies, Backstage.com, October 18, 2010
"Set designer Myung Hee Cho uses rotating backdrops for the lecture hall screen, seedy kitchen, and floor-to- ceiling library-of books..."

Futura (2010)
Harvey Perr, Stage and Cinema, Published October 30, 2010
"... Jessica Kubzansky's direction is smart and unerring, that the design elements are simple, pithy and perfectly in tune with the demands of the play ... above all, the magnificent set by Myung Hee Cho, which goes from a lecture hall to a nasty kitchen in an abandoned house on the outskirts of some urban hell to a bunker this reviewer is loath to describe because, like the play itself, it should take one by surprise..."

Futura (2010)
F. Kathleen Foley, Los Angeles Times, October 14, 2010
"Myung Hee Cho's set design, beautifully lighted by Jaymi Lee Smith, starts off with a bare stage and ends with a subterranean repository that is magnificent."

The Magic Flute (2011)
Ken Winters, The Globe and Mail, Published Jan 31, 2011
"The production shows stage director Diane Paulus, conductor Johannes Debus and set and costume designer Myung Hee Cho very much of the same mind. They seem to have agreed to keep the action lively but simple, the design imaginative but consistent with the incorporeality of fairy tale. The piece is not grand opera (all music), but singspiel, the German term for a kind of higher-toned operetta (musical numbers with spoken dialogue)."
"There were . . . many ingenious strokes in Myung Hee Cho's designs. The most brilliant was placing the whole first act on a small proscenium stage centred in a lavish 18th-century-estate garden, so that it comes across as a play within a play, celebrating the name day of the lovely young Pamina, precious daughter of the wealthy household."

The Magic Flute (2011)
John Terauds, The Toronto Star, Published Jan 30, 2011
"Paulus and American designer Myung Hee Cho have set the story up as a play being put on in an aristocratic backyard, framing the action initially with a small, mock 18th-century stage."
"In Act II, where our heroes face a series of trials at the hands of high priest Sarastro, the stage becomes a maze of giant, moving boxwood hedges, all simply lit by Scott Zielinski."

The Magic Flute (2011)
Alison Moritz, Opera Today, Feb 15, 2011
"Paulus' new context for the opera finally allowed for a female chorus contingent that didn't seem totally superfluous to the action. The production concept was not as fully realized in the second half, but the significant strengths of Act I and the pure charm throughout (enhanced at every turn by set and costume designer Myung Hee Cho) made the production a joy to behold."

Extraordinary Chambers (2011)
Jonas Schwartz, Theater Mania, June 3, 2011
"Director Pam MacKinnon keeps the audience interested while leaving them unsure of the characters' intentions. The story unfolds at a definite pace, getting to the heart of issues quickly. Using Myung Hee Cho's tourist hotel set, she deftly contrasts the luxuries of a vacation room with the cold business at hand."

Extraordinary Chambers (2011)
Bob Verini, VARIETY, June 5, 2011
"Production values contribute to the emotional impact. With a few paneling and furniture shifts, Myung Hee Cho's set controls our awareness of and reactions to the world outside, in collaboration with delicate variations in Lap Chi Chu's lighting."

Emotional Creature (2012)
Georgia Rowe, San Francisco Examiner, June 28, 2012
"Myung Hee Cho's set combines three round platforms with a long, curving screen displaying photos, backdrops, slogans and statistics... Her costumes add to the show's hip vibe."

Emotional Creature (2012)
Robert Hurwitt, San Francisco Chronicle, June 24, 2012
"Bonney makes the different elements flow together nicely on Myung Hee Cho's set of rounded platforms all feminine curves..."