HONG KONG

MISSISSIPPI

Fluid, vibe setting lighting (by Eric Norbury), in Chinese reds and jazz club blues…make the small black box theater fantastically versatile.

“Hong Kong Mississippi” proves what artists can do with modest means but an abundance of passion, pluck and reasons to play.

Naveen Kumar - New York Times

Eric Norbury’s lighting design is a superb variance of hues, blackouts, dimness and brightness, all connoting the actions, emotional tones and the passage of time.

Darryl Reilly - Theaterscene.org

DODI & DIANA

As characters, Diana and Dodi exist for most of the play in voice-over, between scenes, when lighting (by Eric Norbury) and sound design (by Hidenori Nakajo) evoke their visit to Paris in August 1997: the pop of flashbulbs, the sweep of headlights, the roar of engines going too fast.

Laura Collins-Hughes - New York Times

“The production does take excellent advantage of its space and setting, with scenic design (Alexander Woodward) and lighting (Eric Norbury) transporting the singular suite through space and time… and maybe a tunnel in Paris.”

Amanda Marie Miller - Theatrely.com

Eric Norbury’s lighting design also contributes a great deal—flashbulbs of paparazzi that at one point crash through to the only scene featuring the real Dodi and Diana.

Edward Karam - Off Off Online

BLUE

“Excellent lighting by Eric Norbury isolated the characters effectively.”

James Bash - Oregon Artswatch

ONLY HUMAN

Andrew Moerdyk designed the graph paper-inspired set, which is lit with rock-and-roll neon by Eric Norbury.

David Gordon - Theater Mania