SEAN MALLARY
Madagascar (Next Theatre)
Sean Mallary’s lighting changes and the choreographed confessions blocked in Kimberly Senior’s staging keep the clue-mongering fluid and forceful. -Lawrence Bommer, Chicago Theatre Blog
Lifeline delivers a whimsical epic with ‘Watership Down’
The real revelation here is Beijing-born Wenhai Ma, whose set design, using projections of his paintings, could not be more exquisite. It is worth the price of admission just to see his artwork floating by, with Sean Mallary’s lighting, Joanna Iwanicka’s puppetry and mask work, Aly Renee Amidei’s costumes, and Mikhail Fiksel’s sound all beautifully melded to his vision.
-Hedy Weiss, Chicago Suntimes
Watership Down, Lifeline Theatre
The impossible journey vividly comes to life with help from the exquisite lighting (by Sean Mallary) with expert sound (by Mikhail Fiksel) on Wenchai Ma’s evocative set and video projections. Joanna Iwanicka’s amazing puppets, masks and video added depth to the illusion. This fantasy world allegoric symbols remind me of Greek myths as tyranny battles freedom for dominance.
-Tom Williams, Chicago Critic
Old Times, Strawdog Theatre Company
The Edward Gorey-esque set by Mike Mroch is appropriately stark. The walls, floor and tables are gray, the couches are black, and the few splashes of color (Some ominously orange lampshades and pair of potted plants) only serving to highlight the lack of color everywhere else. The washed out look is helped by Sean Mallary's fine, un-showy lighting....Senior is to be applauded for presenting an evening of theatre so like a finely-tuned bomb: the precise inner mechanisms clicking all together to create a tremendous, devastating explosion.
-Alex Huntsberger, Miami.goopride.com
A Twist of Water, Route 66
…So do Stephen H. Carmody, Sean Mallary, Lindsay Jones and John Boesche, whose technical design evokes in palpable detail the pensive wintry-grey atmosphere from whence come reminders of spring's rebirth.
-Mary Shen Barnidg, Windy City Times
A Twist of Water, Route 66
The music and sound by Lindsay Jones and the lighting by Sean Mallary are the icing on the cake of this marvelous theatrical experience.
-Alan Bresloff, Around the Town Chicago
Macbeth, Citylit Theatre
Of the many remarkable accomplishments in this smart, articulate and expert production are the eerie red light by lighting designer Sean Mallary setting the tone of blood flowing.
-Tom Williams, Chicago Critic
Tooth Of Crime, Strawdog Theatre Company
Lights - Now, lighting is one of those things in theatre which people don't usually notice until something has gone terribly wrong. Sure, lights make the actors look nice and set the mood, but usually they're taken for granted and really under appreciated. The lighting in this production, however, is a spectacle. In fact, I would go so far as to say that the lighting alone is a reason to check out this play. With an array of strobe lights and halogen lights that change color and patterns in dazzling ways, they are a visual feast. They change to give the feel of different night clubs, and sync with the various songs. Not only is it the best lighting work out of all the plays I've seen so far, it is also better than the ones at all the concerts I've been to.
-William Chyr, (Student Reviewer) Chicago Maroon
Gossamer, Adventure Stage Chicago
This production is a masterpiece from start to finish, beginning with its superb artistic and technical support. Mikhail Fiksel's atmospheric sound design and original music, Karen Hoffman's ethereal set, evocative of a seashell's interior (an important story element) and Sean Mallary's dream- and nightmare-like lighting effects help set the mood.
-Collin Douglas, Centerstage
Cooking With Elvis, San Froid Theatre
Byron Wallace’s leopard- and zebra-tinged plush sets join cheesy with the shoddy emptiness of this working-class house, further enhanced by Sean Mallary’s ironic faux-angelic, spotlight-inspired illumination.
-Lucia Mauro, Chicago Theatre
Sean Mallary’s lighting changes and the choreographed confessions blocked in Kimberly Senior’s staging keep the clue-mongering fluid and forceful. -Lawrence Bommer, Chicago Theatre Blog
Lifeline delivers a whimsical epic with ‘Watership Down’
The real revelation here is Beijing-born Wenhai Ma, whose set design, using projections of his paintings, could not be more exquisite. It is worth the price of admission just to see his artwork floating by, with Sean Mallary’s lighting, Joanna Iwanicka’s puppetry and mask work, Aly Renee Amidei’s costumes, and Mikhail Fiksel’s sound all beautifully melded to his vision.
-Hedy Weiss, Chicago Suntimes
Watership Down, Lifeline Theatre
The impossible journey vividly comes to life with help from the exquisite lighting (by Sean Mallary) with expert sound (by Mikhail Fiksel) on Wenchai Ma’s evocative set and video projections. Joanna Iwanicka’s amazing puppets, masks and video added depth to the illusion. This fantasy world allegoric symbols remind me of Greek myths as tyranny battles freedom for dominance.
-Tom Williams, Chicago Critic
Old Times, Strawdog Theatre Company
The Edward Gorey-esque set by Mike Mroch is appropriately stark. The walls, floor and tables are gray, the couches are black, and the few splashes of color (Some ominously orange lampshades and pair of potted plants) only serving to highlight the lack of color everywhere else. The washed out look is helped by Sean Mallary's fine, un-showy lighting....Senior is to be applauded for presenting an evening of theatre so like a finely-tuned bomb: the precise inner mechanisms clicking all together to create a tremendous, devastating explosion.
-Alex Huntsberger, Miami.goopride.com
A Twist of Water, Route 66
…So do Stephen H. Carmody, Sean Mallary, Lindsay Jones and John Boesche, whose technical design evokes in palpable detail the pensive wintry-grey atmosphere from whence come reminders of spring's rebirth.
-Mary Shen Barnidg, Windy City Times
A Twist of Water, Route 66
The music and sound by Lindsay Jones and the lighting by Sean Mallary are the icing on the cake of this marvelous theatrical experience.
-Alan Bresloff, Around the Town Chicago
Macbeth, Citylit Theatre
Of the many remarkable accomplishments in this smart, articulate and expert production are the eerie red light by lighting designer Sean Mallary setting the tone of blood flowing.
-Tom Williams, Chicago Critic
Tooth Of Crime, Strawdog Theatre Company
Lights - Now, lighting is one of those things in theatre which people don't usually notice until something has gone terribly wrong. Sure, lights make the actors look nice and set the mood, but usually they're taken for granted and really under appreciated. The lighting in this production, however, is a spectacle. In fact, I would go so far as to say that the lighting alone is a reason to check out this play. With an array of strobe lights and halogen lights that change color and patterns in dazzling ways, they are a visual feast. They change to give the feel of different night clubs, and sync with the various songs. Not only is it the best lighting work out of all the plays I've seen so far, it is also better than the ones at all the concerts I've been to.
-William Chyr, (Student Reviewer) Chicago Maroon
Gossamer, Adventure Stage Chicago
This production is a masterpiece from start to finish, beginning with its superb artistic and technical support. Mikhail Fiksel's atmospheric sound design and original music, Karen Hoffman's ethereal set, evocative of a seashell's interior (an important story element) and Sean Mallary's dream- and nightmare-like lighting effects help set the mood.
-Collin Douglas, Centerstage
Cooking With Elvis, San Froid Theatre
Byron Wallace’s leopard- and zebra-tinged plush sets join cheesy with the shoddy emptiness of this working-class house, further enhanced by Sean Mallary’s ironic faux-angelic, spotlight-inspired illumination.
-Lucia Mauro, Chicago Theatre
