Page Two

Pigeon Holed, an irreverent look at the world behind the scenes of a successful children's television show, was written by 5-time Emmy winner Annie Evans and directed by Martin P. Robinson, the creator of the puppets for the original Little Shop of Horrors. Several of the human performers were cast members of Sesame Street and other children's television shows.

Pigeon Holed shared a mixed-repertory program with pieces by Heather Henson, Lindsey “Z” Briggs, Leslie Carrara-Rudolph, and others.

"The simplicity and light of the production’s effects reinforce the mood and themes of Shirley’s narrative exploration."

"Jeffrey Salzberg's deft and evocative lighting...contributed to the show's polish."

"Production values are all splendid, especially...Jeffrey E. Salzberg's very effective lighting design."

		This photograph was printed in the New York Times on 31 January, 2007.

"The lighting design by Jeffrey E. Salzberg is a minor masterpiece of minimalism."

 

Brian Friel's Molly Sweeney examines the difference between "seeing" and "understanding". The play is a series of monologues by Molly, a middle-aged Irishwoman who has been blind since shortly after birth, her husband Frank, and Mr. Rice, the doctor who restores her sight.

"Jeffrey E. Salzberg's lighting has the quiet task of stitching together the three distinct worlds the characters each inhabit, and keeping them all present for us as they individually present their story. The lighting sets clear moods without exaggerating them, giving the actors the prominence they deserve."

"The...pinpoint lighting by Jeffrey Salzberg...contribute(s)
to making this a first-rate production."

Building upon the work of the scenic designer, the lighting designer provided each of the three environments a window, either reinforcing the set or creating the effect entirely with light, using these to contribute to the use of

"vision" as a metaphor. Through a series of subtle changes beginning in Act II, the lighting became more and more stark, echoing the mood of the production, until the end, where the lighting isolated the character in metaphor as she was in life.

Molly Sweeney photographs by Kim Bent

Far East is A. R. Gurney's look at American sexual prejudices and morés. Set at an American naval base in mid-50's Japan, the play parallels the stories of Bob, who is cashiered from the Navy for being homosexual, and Sparky, whose relationship with a Japanese woman i s only barely considered preferable ("They don't like heterosexuals either?").

The playwright borrows liberally from traditional Japanese theatre forms, including the use of "stagehands" (who are seen but never heard) and a character known only as "The Reader", who provides narration as well as providing the dialogue for several characters, all from her position downstage right.

In keeping with the structure of the play, the lighting was sharply episodic, growing starker as the story progressed. With an abstract set composed of white fabric panels and a painted Japanese landscape, the task of establishing time and place fell to the lighting designer. Locales ranged from various areas of the naval base to the captain's quarters and a bar in Saigon. The whiteness of the set, as well as that of the naval uniforms worn throughout much of the play, was another challenge faced by the designer.

"Victoria Holloway directed. . .and was ably supported by. . .
lighting designer Jeffrey E. Salzberg."

Romeo and Juliet
Directed by Colette Rice

Actors Shakespeare Company produces plays as if they were being performed by Shakespeare's contemporaries. The lighting designer works within the context of what the lighting might be if the play were being lighted by sunlight as the day progresses, and by torches as they burn down.

ADDITIONAL THEATRE AND MUSIC LIGHTING