Truman Capote’s One Christmas (MOW) The copper-toned cinematography by Thomas Del Ruth and the
production design by C. Robert Holloway lend the movie a warm sheen and loving credibility.
For Hire (MOW) Though reset in contemporary New Orleans, Production Designer C. Robert Holloway has successfully evoked the film noir
look of the 1942 original.
The Magic Flute (Opera) There are special nights
in the opera house when every aspect of theater and music come together to turn even the most jaded opera-lover giddy with
the sheer fun of it all. This production provides one of those nights. In short, magic!
This "Magic Flute" is inventive and filled with stagecraft, wit and bright imagery. It appears to be the
most technically complex the company has ever presented. The sets are simple but evocative. The dominating
element of a neon moon, designed by C. Robert Holloway, has a few tricks of its own and his lighting adds greatly to the magical
atmosphere, no small task in a tale of the battle between darkness and light.
Lakmé (Opera) Beautiful production! Brisk and clear,
never removing the focus from the music but complementing it with just the right nuance. Each act, from the sacred temple
grounds to the bustling market square to Lakme's jungle hideaway, was deliciously realized and evocatively lit by C. Robert
Lakmé The lighting by C. Robert
Holloway achieves an exquisite subtlety, without ever calling attention to itself, making for true artistry.
Baton Rouge Advocate
Bernstein’s The Mass (Opera)
Transcends the sum of it parts…It has a total impact…C. Robert Holloway’s lighting
design, the most complex in local history, creates a beautiful, emotional and unique atmosphere. The sheer beauty of the production
cannot fail to move one aesthetically.
Bernsteins’s The Mass The lighting of C. Robert
Holloway illuminates the work both visually and intellectually, drawing the eye from street to altar, from soloist to chorus
so smoothly one doesn’t realize the manipulation.
Otello (Opera) C.
Robert Holloway’s lighting design well supports the sets, adding to a feeling of realism by going without follow-spots,
which always reminds one of sitting in a theatre. Honolulu Star
Madama Butterfly (Opera) C.
Robert Holloway’s lighting design was unusually complex and beautifully detailed. It gave needed
shape to the sets and complemented superlative costumes.
San Antonio Express-News
Butterfly (Opera) It was the attention to detail that made this
a memorable production. Tiny winking lights served as fireflies in the dusky light. C.
R. Holloway’s designs perfectly complimented Puccini’s shimmering and emotional score.
Lammermoor (Opera) Designer, C. Robert Holloway has subtly blended film-lighting techniques with opera lighting and
achieved a “Barry Lyndon” look for this traditional opera.
The Seattle Times
(Play) Director Ezra Stone was replaced by lighting
and special-effects designer C. Robert Holloway. Production’s major strength is
in its technical side; much fun is gleaned from lightening and thunder and flying bats and puffs of smoke, making for sublime
Dracula (Play) Designed by C. Robert Holloway, the lighting and special effects
for this rendition of Dracula are outstanding. Twice during the show, bodies disappear right off the couch!
Santa Cruz Sentinel
Dracula This is a very Art Deco Dracula…gone high camp, for this London exists only on the back lot at RKO, and all its fogs are
dry ice. After a long, skillful buildup featuring some nifty special effects by C. Robert Holloway, Dracula
enters, bearing a bouquet of bleeding-heart fuchsias.
Palo Alto Times
Oscar & Speranza (Play) The production’s impressive set echoes the
opulent, sophisticated taste of Wilde himself.
& Speranza The Director/Writer and Designer have provided
a lavish, intimate playing area. Rich in material for anyone interested
in domineering, show-stealing mothers and their alternately adoring and resentful sons.