Reviews

BEAUTY AND THE BEAST:

"Samuel Rushen’s lighting design deserves special credit for its range, from the warm glow of Belle’s village to the spooky castle’s shadowed corridors."

- Roy C. Dicks, The News & Observer

 

 

 

JESUS CHRIST SUPERSTAR, NC THEATRE:

 "The real technical hero is Samuel Rushen, whose lighting is worthy of an arena rock concert."

- Dustin K. Britt, Triangle Arts & Entertainment

 

 

 

WEST SIDE STORY:

"Samuel Rushen's skills as a lighting designer are so seamless they don't always draw due attention, but not here. He's on the spot for every moment: to make Tony's wishful face shine out of the darkness...to strew the stage with the quietly dancing stars of "Somewhere"... to make our eyes ache from the harsh industrial lights that illuminate the rumble. A battery of stage-level spotlights aim low for the twisting, crouching dancers, and create shadows and lights that keeps us hyper-aware of every move they make."

- Jan Farrington, TheaterJones

 

"Samuel Rushen's lighting beautifully accents [the costumes]"

- Mark Lowry, Star-Telegram

 

 

 

LES MISÉRABLES:

"As if this review hasn't celebrated enough of this production, Samuel Rushen's lighting is captivating. When we witness the final battle in Act Two, Mr. Rushens' work adds an especially impressive layer to this savvy show."

- Kyle Christopher West, Broadway World

 

"Samuel Rushen’s lighting design is brilliant."

- Punch Shaw, Star-Telegram

 

 

 

ROCK OF AGES:

"Lighting design by Samuel Rushen and scenery by Adam Koch create the perfect concert-style setting, which takes the Casa stage to an all-time high."

- Kyle Christopher West, Broadway World

 

 

 

JESUS CHRIST SUPERSTAR, CASA MAÑANA:

"Samuel Rushen carefully lights around the projections so that the scenes carry the right emotional weight without blanching the texture projected behind them."

- David Novinski, TheaterJones

 

 

 

OSWALD: THE ACTUAL INTERROGATION:

"Lighting design by Samuel Rushen continues the feeling of uneasiness and stark loneliness of the interrogation room. Although a relatively simple lighting design, the highlights to the set with harsh cuts mimicking the set angles create a stunning impact. The lighting of the scene recreating the shooting of Oswald from live action to a frozen "moment in time" is superb."

- Richard Blake, The Column

 

 

 

BIG RIVER:

"Every choice was pointed and direct and beautifully reflective of the action in the scene."

- Ashlea Palladino, The Column

 

 

 

FIDDLER ON THE ROOF:

"Lighting was designed by Samuel Rushen. Lighting, like the scenic design, was also very intricate, and executed in a very professional manner. The mood was clearly established as the audience was drawn into the world of the play. It is apparent that there was quite a bit of time and talent devoted to creating the lighting of this production. Often times, I feel that lighting can sometimes be an afterthought, especially in a production as straight-forward as this one. There was a representation of night and day, and time progression, however it was visually pleasing and satisfying to see such lovely colors come to life in the background-specifically the subtle transitions between morning and evening sky during the notable number “Sunrise, Sunset,” and during “Sabbath Prayer.” It was a treat to see some lovely silhouettes of the villagers of Anatevka, with their prayer candles in the background, while the focus was on the Sabbath in Tevye’s home in the foreground. It was a nice contrast to see something very simple project such a dramatic and symbolic moment. It was a very nice touch that certainly added magic to the production. In addition, I also enjoyed seeing consistency within the lighting design-especially during the moments when Tevye would directly communicate some of these thoughts with himself, the audience or when speaking with God. Lighting was well-executed, and was certainly as dramatic as the action on stage."

- Sheldon Harnick, The Column

 

 

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