What Critics Have Said:

A Moon for the Misbegotten, by Eugene O’Neill

A Moon for the Misbegotten

“Nels Anderson’s set designs are once again excellent…Likewise Charles S. Reece’s lighting design. He has emerged as one of the area’s best designers, with an ability to achieve a subtlety that is truly excellent. His lighting design performs, in essence, as another character: present, but delightfully unobtrusive.”  -Jack Florek, U.S. 1 Newspaper

“There is a radiance in [actor Jo Twiss’] final scenes that matches the wonderful sunrise provided by lighting designer Charles S. Reece…Reece’s excellent lighting easily takes us from noon on one day to the rich, warm dawn of the next.”  -Michael Kownacky, The Times of Trenton

Old Wicked Songs, by Jon Marans

Old Wicked Songs

“The show’s design is stunning and subtle. Bill Clarke’s shabby-chic design of the music studio shifts elegantly and delicately under Charles Reece’s lighting to reflect the mood and power struggle between both characters.”  -Jonathan Elliot, U.S. 1 Newspaper

Heavy Mettle, by Richard Hoehler

“…The final character [is] an aging balloon man sliding into senility. We’ve seen the fellow before…writers have explored the subject of elderly parents from every angle. Yet when the lights go down on this balloon man—a final stage picture that is alone worth the price of admission—we want to check up on him later, to make sure he’s all right.”  -Neil Genzlinger, The New York Times

Jacob Marley’s Christmas Carol, by Tom Mula

Jacob Marley's Christmas Carol

“What is excellent about the production is Baker’s staging, Nels Anderson’s nicely conceived, simple set, Robert Neuhaus’s sound and, most of all, Charles S. Reece’s artful lighting. The moody effects this team produces are imaginative and impressive.”  -Douglas J. Keating, The Philadelphia Inquirer

 Forget Herostratus, by Grigory Gorin

Forget Herostratus

“The designs of Evgeny Safronov (set design), Mary Sarkissyan (costumes), and Charles S. Reece (lighting) all fuse together to create a visually enticing theatrical event.”  -Jack Florek, U.S. 1 Newspaper

Instructions for Breathing, by Caridad Svitch

“Jeffrey Van Velsor’s minimal set, with lighting by Charles S. Reece, creates beautifully and efficiently this world of reality and dream.”  -Donald Gilpin, Town Topics

 Rosemary and I, by Leslie Ayvazian

“Charles S. Reece’s lighting is impeccable.” -Anne Rivera, U.S. 1 Newspaper

The Book of Candy, Book and Lyrics by Susan Dworkin, Music by Mel Marvin (World Premiere)

“Thanks to the rich and varied lighting design by Charles S. Reece, [the set] easily and quickly becomes the dozens of locations needed for four busy decades in the life of Candy Shapiro.”  -Ted Otten, The Times of Trenton

Victor and the Virgin, by Thomas Dunn

Victor and the Virgin

“Vicki Davis’ scene design immediately thrusts us into a tiny segment of Louisiana history and Charles Reece’s extraordinary lighting compliments the atmosphere.”  -Stuart Duncan, The Princeton Packet

“Charles S. Reece has [lit the production] with a magical glow that is totally appropriate to its romantic elements.”  -Ted Otten, The Times of Trenton

Best Friends, by Thomas Carr (World Premiere)

“Charles S. Reece’s lighting design, ranging from the moving headlights of a car pulling up to the cottage, to dark winter cold nights, and the reawakening blue light of a winter morning, [is]…excellent.”  -Jack Florek, U.S. 1 Newspaper