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Robert Sondergaard
"...and gorgeously enfolded in Robert Sondergaard’s lighting design, which uses darkness as much as light to frame, contextualize and sometimes undercut the action."
- New York Times
"...in scenes whose shifting borders are defined by Robert Sondergaard’s brilliant lighting. The space may be wide open, its edges dissolving in a blue haze, or it may be restricted to the dusty beam of a standing lamp. At other times, the performing space stretches to accommodate the distance between the dancers and their far-off shadows."
- The Star-Ledger
"The show literally explodes into its opening title-song punk anthem with Robert Sondergaard’s spectacular lighting spraying the open stage..."
- Vancouver Plays
"Rob Sondergaard's lighting, with its eerily mobile shadows and spotlights with minds of their own, is almost another "character" in the show..."
- Seattle Times
"Sondergaard's lighting is some of the best I've seen anywhere, anytime."
- Vancouver Courier
"And the lighting was, arguably, even better, with Robert Sondergaard bouncing spots off the Mylar-covered floor to create painterly washes of colour behind the stage."
- The Georgia Straight
"But it is Lighting Designer Robert Sondergaard's consummate creative precision with the stage lighting that for this reviewer almost, almost! ran away with the show all by itself. I am not sure in 45+ years of attending ACT starting at the Seymour site that I have witnessed quite such a display of ingenuity and freshness in the use of criss-crossing follow-spots on the actors..."
- Broken Leg Reviews
"The technique, developed by director Stan Douglas, is impressive. His actors inhabit a featureless blue landscape where they are picked out in the golden warmth of Robert Sondergaard's lighting."
- The Guardian
"The beautiful lighting by Robert Sondergaard is a stripped down half circle of tungsten spots on rolling c stands contrasted with white lighting on the overhead grid gives a nice balance of visual effect. The changing and responsive use of light in the piece really cinches the narrative aspect."
- Chicago Stage Standard
"In the hands of Robert Sondergaard light becomes a metaphor for space and time, and can speak as demonstratively as a dancer’s gesture, as it does at the opening when a roving light seems to embody the voice of Kate Strong recalling aspects of a relationship."
- Writing About Dance
"The show was so captivating I had been completely drawn in. A large part of this is due to Robert Sondergaard’s lighting and set design. I felt I was a in a dream the whole time. "
- Van city Vince