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)