It may be the spectacular views or good wine selection at the concessions table, but Brantley seems in love with the Hudson Valley Shakespeare Festival. I get a nice shout-out:

And here, ably assisted by Dan Scully’s lighting, he summons a breathtaking series of processions that seem to be conjured from the dusk.

— Author’s Name (Default)

You can catch the full review at The New York Times.  And you can find more information about the Hudson Valley Shakespeare Festival here.

We had a great run at Danspace at St. Marks, and the crowds and press loved it.  We were literally packed on closing night, with audience sitting upstage of the dancers in the wings.  Here is some of the press we got.

Sarah Cubbage’s handsome, sexy costumes, featuring high-waisted, wide-legged trousers and shirts with cutaway backs, captured Mr. Abraham’s mix of austerity and sensuality. So did Dan Scully’s lighting, which employed a back row of lights close to the floor to spike the quieter overall design with a showbiz atmosphere.

— New York Times, Feb. 26, 2010

As his dancers joined in, often for solos or (sometimes overlapping) duets, there were introspective and disturbing moments—the discomfiture of a body once so in control, losing some of that and finding itself at the mercy of what Abraham called “disconnected synapses” Abraham mentioned when talking about his father.

— New York Press, Feb. 24, 2010

Dan Scully’s lighting design makes everything look good and, while his row of bright stage lights aligned at the rear of the space is a grand, theatrical touch, I most enjoyed his more subtle delineation of areas for dancing, his play of soft light and available shadow (cast by the church’s columns).

— Dance Magazine

Terry Teachout has great things to say about Galileo at Asolo Rep, specifically commenting on the whole design cohesion.  It was a great team (lighting by Peter West, sound by Fabien Obispo, and set and clothes by Clint Ramos), led by a great director, Michael Edwards.  The money quote is:

Yet Michael Donald Edwards’s staging… is not a bare-bones antispectacle but a masterpiece of unified design…. I’ve never seen a handsomer Brecht revival.

— Wall Street Journal, Jan 8. 2010

You can read the whole review here.