C. Robert Holloway


Film, Opera, Theatre:

Yellow Spinning 5 Point Star
Yellow Spinning 5 Point Star
Yellow Spinning 5 Point Star
Yellow Spinning 5 Point Star

Two Soldiers (Feature) A beautiful film, sumptuous in the way that Terrance Malick’s Days of Heaven’s gorgeousness exceeds the emotional values of its narrative.  Each frame of Two Soldiers is intense, exhausting the viewer’s senses with conspicuously magnificent lighting, scenery, cinematography.  As in an Edward Hopper painting, light seems like a character itself in the movie.  Director  Schneider had the good sense to employ C. Robert Holloway as his production designer, and the movie is intensely designed in the habit of period films like a museum exhibition of 1942 farm life. 
New Orleans Gambit Magazine 

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.

This Gun 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.
Hollywood Reporter

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.
Times Picayune

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 Holloway.
Times Picayune

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.
Honolulu Star/Bulletin 

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 Bulletin 

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

Madama 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.
San Antonio Light

Lucia di 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.
Seattle Times 

Dracula (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 theatrical gingerbread.
Daily Variety

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.
Washington Blade 

Oscar & 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.
Washington Post