"...There is a plot to the evening's lengthy production, and it is submerged, albeit by some excellent distractions: booming voices, lovely duets, and a gifted chorus; a whole town's worth of bodies peopling the stage; spry antics and derring-do with a comic flair; Robert T. Whyburn's gorgeous, moody lights; and the hypnotic effect of a raft drifting down the big river to magical points unknown...."
"...Robert T. Whyburn (The Secret Garden)..."
"...A top-notch design team of Christopher McCollum (sets), Robert T. Whyburn (lights), and Sylvia Tate (costumes) creates an effective tropical atmosphere to support the production..."
"...Robert T. Whyburn, The Secret Garden..."
"...Robert T. WhyburnMost Disturbing to Me Was ...Dear editors,..."
"...Not as hard as the actors with their layered yakking and singing and seemingly random constant movements that turn into complex choreographies of even faster, fully synchronized and patterned movements. Not as hard as Robert Whyburn figuring out the proper candlepower and hue and timing of each of way too many lights for my shadowed mind to encompass..."
"...Robert Whyburn, Angels in America..."
"...Jason Amato, Charles Dickens' A Tale of Two Cities/Fur/Triskelion Ryan Brummel, blood pudding Laura Sandberg, The King Stag Scott Segar, Clayangels Tony Tucci, Annie/West Side Story Robert Whyburn, Angels in America Costumes..."
"...Michael Raiford's set, with flats of stylized smokestacks and skyscrapers painted to evoke Thirties art, and his compact playing spaces faced in brick, carry us back a half-century to a faded hotel where you can almost hear the pitiless Chicago winds whistling beyond the windows. Robert Whyburn's lighting favors – what else? – blues, in shades that summon those hours after midnight when it's just you, a bottle, and the dark..."
"...Robert Whyburn, Evita/West Side StorySoundDuncan Robert Edwards, Oklahoma!..."
"...In developing Visions of Theatre for the Artists' Coalition of Austin, Ketchum sought to showcase artists who had made stage design their life's work. To assist him in finding qualified designers in the area, he turned to Robert Schmidt, an established scenic designer and Associate Chair of the UT Department of Theatre & Dance. "With Robert Schmidt's help," he says, "I assembled a list of professional people who are making a living at designing -- and designing not just in Austin, but throughout the nation -- and are choosing to live in this city." The depth and breadth of professional design talent they put together is most impressive, ranging from such stars of the local design scene as set and costume designer Michael Raiford (Rockin' Christmas Party, Forever Plaid) and lighting designer Robert Whyburn (Five Guys Named Moe, The Water Principle) to longtime Southwest Texas State University faculty members Sheila Hargett (costume design: The Tempest, Hair) and Dan Hannon (scenic design: The Tempest, Playboy of the Western World) to UT faculty members Richard Isackes (scenic design, Boston's Huntington Theatre, Chicago Lyric Opera) and James J..."
"...M. January, Branson or Bust Robert Whyburn, The Gospel at Colonus/ Peter Pan/Woody Guthrie's American Song Costumes T'Cie Mancuso & Chad Sylvata, Panoptikon Sara Medina-Pape, Twelfth Night Bil Pfuderer, Das Barbecü Michael Raiford, The Gospel at Colonus/Ruthless! Simone Williams, Vinegar Tom Scenery Kim Koym, Shakin' the Mess Outta Misery/ Unmerciful Good Fortune Christopher McCollum, Hedda Gabler/ Peter Pan/Sylvia Michael Raiford, The Gospel at Colonus/Ruthless! Leilah Stewart, Vinegar Tom Jim Weisman, Once Upon a Mattress Movement Rod Caspers, Branson or Bust Margery Segal, Enfants Perdus Dave Steakley, The Gospel at Colonus Scott Thompson & Richard Byron, Grease/ Peter Pan David Yeakle, A Saga of Billy the Kid Road Show Curiouser and Curiouser, UT Performing Arts Center Having Our Say, Paramount Theatre The Heather Woodbury Report, or Whatever, VORTEX Repertory Company slip, Frontera@Hyde Park Theatre 12 Steps to a More Dysfunctional Family III, VORTEX Repertory Company..."
"...6. Robert Whyburn's uncountable lighting designs, including Girl Gone (Frontera@Hyde Park), Joseph and the Amazing Technicolor Dreamcoat (Zilker Musical), and Five Guys Named Moe (Zachary Scott Theatre Center)...."
"...He also dissects the dark space with red clothesline, from which hang female body parts scissored from newsprint, dangling on hangers, and wrapped in plastic. Tiny shards of mirror are suspended from the ceiling, slowly rotating, catching and reflecting Robert Whyburn's lights: flickering fluorescents to banks of colored downlights to tiny spots that pick actors out of the blackness..."
"...Lighting designer Robert Whyburn provides plenty of visual magic and, even in its very short appearance, Oberon's pseudo-Batmobile is a hot-rod hoot. Even wishing that Tolaro had pushed ever so slightly harder to fully engulf the stage in his comic book concept, this Midsummer Night's Dream still contains all the laughs of your favorite hijinks, capers, and shenanigans...."
"...Within are the trappings of the mid-1960s, not least of which is the cheery, youthful ensemble who appear to be enjoying the hell out of acting this play. Pamela Anson has clothed the cast in hippie duds, Dwight Markus has bedecked the stage with brightly colored shapes, painted, blobby flowers (Arden), or little Flash Gordon-like lightning bolts (the bad uncle's dukedom), Robert Whyburn goes to town with all manner of gobos and colored lights, and Stacey Harris' sound design is Top of the Pops, circa 1965-69 (no Beatles here, just a collection of ace contemporaries: the Kinks, Byrds, and Hendrix, to name only a few)...."
"...My first tour. My first experiences with Starla Benford, Julius Tennon, Billy Harden, Judy Edwards-Shabibi, Robert Whyburn..."
"...When they tilt back, lifting their right legs in unison, it looks like a single movement. Illuminated in one of designer Robert Whyburn's moonbeams, Stryker springs into a lift, and Addison seamlessly follows through with the carry upward, the two flowing into each other like water...."
"...Director Bill Sheffield and a top-tier design team create a stunning environment for a powerful drama of epic proportions:Dwight Markus fashions a Stonehenge-like set with towering grey slabs that arc gracefully around the rear of the stage, providing a geometrical focal point at center stage for the tragedy's business; Robert Whyburn amplifies this stoic, cold formality with blue and grey lighting, often enhanced with geometric patterns; Michael Hite lands the action in its period with sumptuous costumes that create giant figures of the players by altering their natural silhouettes with angular, textured, weighty fabrics; Julian Reed's evocative harpsichord underscore, while a little repetitive by play's end, provides a pleasant, stately sound...."