"...Lightning-quick surprises constantly spring from Jessica Colley-Mitchell's impressive set that features nine possible entrances in a bi-level playing space. Kathryn Eader and K..."
"...The environment is crafted well by gorgeous, spot-on costuming by Mercedes O'Bannion, complemented by Tara Cooper's hair and makeup design. Chase Staggs gives us a great set illuminated with specific, well-executed lighting by Kathryn Eader..."
"...The sheer beauty and innocence displayed as Scout obliviously stops a lynch mob elicits a tear or two, Tom Robinson's trial has the audience leaning in, and Bob Ewell's comeuppance at the hands of the as-yet-unseen Boo Radley still provokes gasps. The show is well lit by Kathryn Eader, particularly during the attack on Jem and Scout, though a few lighting shifts during the trial (presumably meant to shift mood?) are a bit distracting..."
"...The technical aspects also exude professionalism. The costumes by Susan Branch Towne and lighting by Kathryn Eader are exquisite, both adding aesthetic touches that enhance the production..."
"...The experiment begins as soon as one enters the theatre, which, thanks to scenic designer Leilah Stewart, properties designer Rachel Magee, and lighting designer Kathryn Eader, feels just like walking into an actual museum exhibit. Every detail, from the pedestals on which the curious "statues" are perched to the benches that demarcate the outside walls of the gallery, is right on..."
"...An arresting sapphire stage dominates Lisa Laratta's set. Kathryn Eader's magical lighting brings oranges, purples, and greens into the picture..."
"...4) KATHRYN EADER'S LIGHTING FOR 'UNDER CONSTRUCTION' (Mary Moody Northen Theatre) The lighting tied together the work of a splendid design team...."
"...Making the script's conscious sentimentality palpable are T'Cie Mancuso's costumes that look like they jumped out of a Norman Rockwell painting (Mee's other inspiration); Leilah Stewart's versatile set, which becomes everything from dining table to automobile, and displays iconic American artifacts like a bowling pin and typewriter to great visual effect; and Kathryn Eader's lighting and Buzz Moran's sound, which create a sense of place for each scene...."
"...Edward's production converge seamlessly to give life to this bleak world, with strikingly simple scenic design by Christopher McCollum – sturdy, versatile wood tables and benches that complement Susan Branch Towne's rich, detailed period costumes. Kathryn Eader's fine lighting design mirrors the play's alternating moments of chaos and stillness, and Buzz Moran's creepy sound design cleverly manipulates the audience's emotions, making us feel like we're in a well-made horror movie..."
"...Kathryn Eader, The Secret Garden/Tosca/Merrily We Roll Along..."
"...Lighting Jason Amato, Atlantis: A Puppet Opera Patrick Anthony, A Perfect Robot/Old Times Don Day, John Kate Ducey, The Drowning Girls Kathryn Eader, The Manchurian Candidate Natalie George, The Resistible Rise of Arturo Ui/11:11/Potential Natalie George & Sadie Langenkamp, Riverside Stephen Pruitt, More or Less/One Step at a Time/”panning_memory” Alex Soto, Radiance Scott Vandenberg, Las Cuatro Estaciones: A Story of Human Trees..."
"...Kathryn Eader, The Further Adventures of Hedda Gabler..."
"...Kathryn Eader, Who's Afraid of Virginia Woolf?/ La Hija de Rappaccini..."
"...Kathryn Eader, La Tentación de San Antonio..."
"...Kathryn Eader, The Glass Menagerie..."
"...In this show, even the chrome is brassy, given the way set designer Christopher McCollum wittily uses it to announce a certain kind of Sixties chic in interior design, in this case, for the bachelor pad of foreign film heartthrob Vittorio Vidal (David Hess, oozing charm as slick as his hair and alternately befuddled and bemused by our gal Charity). In fact, the show's whole approach to design is a brassy embrace of Sixties style, from McCollum's wall-o-Warhol, with Vittorio's face reproduced à la Andy in a floor-to-ceiling grid, to Neal Teguns' heavily fringed and flared, let-the-sunshine-in costumes to Kathryn Eader's Day-Glo lighting, which shines on the Fan-Dango dancers' sequined-within-an-inch-of-their-lives mini-dresses to literally dazzling effect...."