Praise for THE runboyrun+In Old Age:

“Ms. Greco does a smart job of abutting and gradually intertwining the stories; at times, under Oona Curley’s lighting, they almost appear to be shot on two different film stocks.”

- Jesse Green, NYT (full review)

“… exquisitely lit by Oona Curley.”

- Samuel L. Leiter, Broadway Blog (full review)

“The lighting by Oona Curley is haunting.”

- Suzanna Bowling, Times Square Chronicles (full review)

Praise for THE APPOINTMENT **NYT CRITIC'S PICK**:

“As befits the perversely vaudevillian logic of this show, these squirming figures live in terror of the hook, which could well materialize from the wings to interrupt their performances. Accordingly, the set … presents the womb as a music hall, with red velvet curtains and a three-piece band.”

- Ben Brantley, NYT (full review)

Praise for GOOD GRIEF **NYT CRITIC'S PICK**:

“long fluorescent tubes that lighting designer Oona Curley has built into the set pulse and glimmer, and something like a far-off bell shimmers in Daniel Kluger’s sound design. Timpo and her team have created a living space, in which neurons fire and boundaries shift and memories coalesce and disperse like smoke.”

- Sara Holdren, Vulture (full review)

Praise for SALOME:

“The production team … have created a thrilling atmosphere of burning desire and ritualistic other worldliness in this highly symbolic, absorbing riff on queerness.”

- Jacquelyn Claire, Stage Biz  (full review)

Praise for kinkhaus:

“Montana and set and lighting designer Oona Curley attack our senses, in a good way.”

- Jonathan Mandell, New York Theater  (full review)

“Every detail of the ambient scenic designs from Oona Curley is perfectly attended to and ensures that this experience - because show truly seems too small a word - envelops you in its ostentatiously gritty yet inviting environs.”

- David Clarke, Broadway World (full review)

Praise for 1969: THE SECOND MAN:

“a mod set for the band (by Oona Curley and Daniel Prosky) so period-fabulous that the Monkees would have been proud to play on it.”

- Laura Collings-Hughes, NYT (full review)

Praise for TIN CAT SHOES:

“WITH A LESSER CAST AND DESIGN TEAM, THE INGREDIENTS OF ‘TIN CAT SHOES’ MIGHT NOT SEEM QUITE AS FRESH OR TASTY.”

- Ben Brantley, NYT (full review)

“THE CAST, DIRECTION AND DESIGN ARE TOP NOTCH.”

- Helen Shaw, Time Out NY  (full review)

 

Praise for CIRCUS - WANDERING CITY:

“One of the most innovative, informative and entertaining evenings I’ve seen in some time... All these parts were combined and stitched together into a fast moving and tightly structured evening by a group of projection, scenic, costume, lighting and sound designers who are as talented and skilled as the circus performers they honored.”

- Edward Alley, Your Observer (full review)

“Brilliant lighting effects ... ‘Circus: Wandering City’ is an incredibly imaginative creation owing to the vision and talents of an entire team of collaborators.

- Gayle Williams, Herald Tribune (full review)

 

Praise for THE HOMECOMING QUEEN:

“Fresh and Complex”

- Jesse Greene, NYT (full review)

“Where the play is strong … the production is excellent.”

- Helen Shaw, Timeout NY (full review)

 

PRAISE FOR FAR AWAY:

“The lighting design by Oona Curley is inventive ... bursts brightly for a few electrifying moments, adding sparks of energy.”

“EXPLOSIVELY IMAGINATIVE.”

- Dan Dwyer + CB Wismar, The Berkshire Edge (full review 1 + 2

 

PRAISE FOR IN A WORD **NYT CRITIC'S PICK**:

“OONA CURLEY'S LIGHTING AND SET DESIGN CREATE INSTANTANEOUS TRANSITIONS THAT MOVE AT THE SPEED OF THOUGHT. ...A SHOW THAT EVOLVES WITH EVERY MOMENT, AND MOVES LIKE MUSIC.”

- Robert Price, The Reviews Hub (full review)

“Lauren Yee's intelligent script is matched by the production's staging (from director Tyne Rafaeli and set and lighting designer Oona Curley).”

- Adrienne Urbanski, Theatre is Easy (full review)

 

PRAISE FOR UNDERGROUND RAILROAD GAME **NYT Pick for Best Theater of 2016**:

in-all-ways sensational ... EXCEPTIONALLY RESOURCEFUL DESIGN TEAM ... searing theatrical visuals.”

Ben Brantley, The New York Times (full review)

riveting, whip-smart performance piece.”

- Peter Marks, The Washington Post (full review)

 

Praise for an intimate evening with typhoid mary:

“This arrestingly designed fever dream of a play starts strong and ends gloriously ... Oona Curley’s excellent lighting, shifting from shadowy to glamorous to blindingly clinical — delineates the defiant unreality of Marty’s mind from the reality of the hospital room.”

- Laura Collins Hughes, The New York Times (full review)

 

PRAISE FOR SWEAT & TEARS:

“...WONDERFULLY LIT BY OONA CURLEY .... BOLD PRODUCTION DESIGN.”

- Ryan Hudak, New York Theater Review (full review)

 

praise for 4.48 psychosis:

“Oona Curley has done a wonderful job with her space—inside a large, empty room that resembles an unfinished construction site, she has built a tiny room enclosed by drapes, so that we are nearly nose-to-nose with actors whose voices boom and echo throughout an unseen darkness.”

- Aaron Botwick, Scribicide (full review)