Not Even The Good Things
Kenneth Laboy, July 2019
"From the moment Not Even the Good Things starts one can appreciate the level of craft behind this production.
The lighting design of Alexander Le Vaillant Freer successfully sets the atmosphere from the start as the audience follows a single candle, and deftly carries the viewer through the many changes in mood that the play calls for. It is through Freer’s work that the production displays the elements of horror since the play itself downplays these in favor of creating a disconnect between the audience and the players. The irony effectively creates the sense of danger that wouldn’t exist if these elements were in conjunction."
Alex Godfrey, September 2016
Björk came to see our piece of Light in Iceland without any of us on the team knowing. She was later interviewed about her inspirations and had this to say about our show:
"I saw the premiere of Of Light in Iceland about a month ago. They work a lot with vocals, which I like, blending together different vocal techniques from the east. When me and my mates were growing up as teenagers we wondered if there was even such a thing as Icelandic culture, Icelandic music, Icelandic art. It was a privilege to be from a generation that had to make it up a little bit. It’s been fun to see the next generation come, and people who have moved here, making music."
B i r d s e y e
Beth Megill, April 2015
"Lighting designer Alexander Freer, grappled masterfully with the demands of lighting a created space set outside, in combination with projections on three walls. The lighting design, while bright for those seated next the side instruments, was effective and aesthetically unobtrusive, creating moods with color while avoiding choices that would interfere with the projected components."
The Superseded Third
Gia Kourlas, April 2013
"The choreographer Anna Sperber is all about clean edges. She sets her new evening-length duet, “The Superseded Third,” seen Friday at the Chocolate Factory, on a long wooden platform. Shiny and gray, the horizontal structure is bracketed by two walls.
The imposing set gives Ms. Sperber’s dance a frame; the décor, designed by Thomas Dunn with the assistant designer, Alexander Freer, and master carpenter, Stephan Fowlkes, is sleek, but also constrictive. As the dance develops, the walls never move, but they feel as if they’re closing in."