“At moments, Faber’s video mix suggested the surreal work of David Lynch, as Edgar Kanyike and Frank Mugisha‘s synthesis of modern, African, and hip-hop dance on a wooden stage in Kampala gradually faded into the umber floor of a Northern forest in the digitized background.”
-Byron Woods, Cultural Voice of North Carolina • Read the Review • View the Gallery
“The staging, by LA’s Alexander Gedeon, evoked the occult (a sense reinforced by Carl Faber’s dreamlike handheld lighting design).”
-Connor Reed, Portland Monthly • Read the Review • View the Gallery
“The expansive world that E.M. Lewis so expertly creates is magnified by Stephanie Kerley Schwartz’s magnificent set and Carl Faber‘s beautiful lighting design.”
-Krista Garver, Broadway World • Read the Review • View the Gallery
“Emily Wilken’s simple stair-stepped scenic design provides versatile playing spaces and spatial hints of the emotional dynamics, while the dots and streaks and color fields of Carl Faber’s lighting suggest the frenetic pace of city life.”
-Marty Hughley, Oregon Artswatch • Read the Review • View the Gallery
“Tal Sanders’ scenery, Alison Heryer’s costumes, Carl Faber‘s lighting and Em Gustason’s sound are crafted into a delightful whole, which is as elegant as it is appropriate to the buoyant spirit of the play.”
-Richard Wattenberg, The Oregonian • Read the Review • View the Gallery
“Carl Faber‘s lighting creates just the right atmosphere for each space.”
-David Barbour, Lighting and Sound America • Read the Review • View the Gallery
“Carl Faber‘s marvelous lighting design creates an atmosphere of creepy anxiety, and it soon becomes clear that this is less an apartment building and more an insane asylum.”
-John Del Signore, Gothamist • Read the Review • View the Gallery
“One participant from the project who worked far from its home base was Portland, Oregon-based lighting designer Carl Faber, whose eclectic resume includes a variety of theatre, opera, and dance projects. Taking advantage of online technology, he designed the lighting for the Oklahoma City readings—a methodology that may prove to be a paradigm for many designers, at least for the near future.”
-David Barbour, Lighting & Sound America • Read the Feature • View the Gallery
“Typically, a theatrical lighting designer is onsite at the venue for days or weeks leading up to a performance, putting in 14-hour days in close quarters with the rest of the team. It’s not uncommon for a designer to fly in from out of town to complete the bulk of their work. None of that is feasible in a global pandemic, so we reimagined the entire in-person experience, supported by a complex network of remote systems and platforms, to make it possible for me to do my job from my desk across the country. This is how we did it.”
–Carl Faber, Oklahoma Contemporary’s ‘New Light’ Magazine • Read the Feature • View the Gallery
” ‘The Tenant,’ which has a budget of under $100,000, according to the artistic directors, is Woodshed’s most ambitious undertaking: eight separate plays that must unfurl with meticulous timing as they intersect with one another. Sheaves of spreadsheets have been printed, and technical rehearsals were estimated to last three weeks. The prospect is enough to make most theater artists head for the nearest black box and stage some comforting Chekhov one-acts.
Still, Woodshed’s Web site describes its mission, in part, as creating “a genuine sense of wonder” by providing theatrical playgrounds through which audiences can wander freely, selecting their own experiences as they move from scene to scene, something a black box cannot offer.”
-Alex Soloski, The New York Times • Read the Feature • View the Gallery