Our design for Birthday Candles became the cover photo leading an article called “Good Things, Small Packages,” celebrating small theatres making great work across the country, including Detroit Public Theatre where this stunning new work was developed and produced.
Cover of American Theatre Magazine September 24, 2019
Our design for A Doll’s House, Part 2 at Actors’ Theatre of Louisville was the featured photo leading an article called “The Top 10* Most-Produced Play of the 2019-20 Season.”
American Theatre Magazine had twelve productions from across the country to choose from and chose ours.
American Theatre Magazine September 18, 2019
‘Requiem for Black Marie’ looks appropriately sordid. The evocative set by Cecilia R. Durbin consists of little more than a raggedy couch and a slanted wall of windows — part “Caligari” skylight, part scrim separating the characters from the miserable events on the prewar Berlin streets. (“Have you been outside lately?” they ask each other.)
-Rachel Saltz, The New York Times
June 18, 2013
Pay special attention to the lighting design by Cecilia Durbin, an oft-overlooked yet crucial element that plays a pivotal role here with trippy effects, mood lighting, and blinding bursts to mask magical transformations.
Sideways Stories from Wayside School
at Bloomsburg Theatre Ensemble
-Kristin Baver, The Press Enterprise
July 11, 2015
Theatre Horizon’s bleak yet riveting production features captivating performances…and [is] backed by a strong design team.
The blending of styles and moods is what Rome and Menzies have spent countless time perfecting—every lighting sequence, dynamic, staging set-up, phrasing—they are all there to usher in a total and complete picture of a relationship, and to step back from this relationship, to recall and remember.
Philadelphia & Other Stories at The Bushwick Starr
-Matthew Daddona, The Rumpus
January 15, 2015
Farrington and set designer Cecilia R. Durbin have worked up a clever conceit: To both open each new scene and indicate the passage of time, Sage pulls out props and costumes from a series of onstage backpacks, each one less childishly decorated than the previous. The backyard fence set, meanwhile, creates a sense of both freedom and entrapment.
Mickey & Sage at The Incubator
-Alan Scherstuhl, The Village Voice
September 26, 2012
It’s Lighting Designer Cecilia Durbin who creates a visually stunning opening and closing moment with the harsh white light capturing Eugene Gant like a flashbulb of a camera; forever memorializing him as he was in that inescapable photograph. Durbin’s subdued amber light for the family at the end of the production is another brilliant moment; shrouding the family in a background shadow as Eugene steps forward into the light, separating himself from the family that has held him back for so long.
Look Homeward, Angel
Amanda Gunther, DC Metro Theatre Arts
January 13, 2014
Cecilia Durbin’s lighting [is] spot-on.
We Are Proud to Present a Presentation about the Hereo of Namibia, Formerly Known as South West Africa, from the German Südwestafrika, Between the years of 1884-1915
-Howard Shapiro, Shapiro on Theatre
Newsworks – WHYY
November 6, 2013
The dynamism and breakneck pace, the violent thrashings of Mickey’s bat and Sage’s baton, the artless sidewalk chalk drawings and funky, footlight-positioned backpacks all lend to the ethos and reinforce the yard as the kid’s world apart. A superbly simple set by Cecilia R Durbin (who also designed the nuanced lighting) presents movable shiplap fence that serves as the kid’s makeshift canvas, where Sage writes her name alongside her many grade school loves and where Mickey muses on the inner workings of the universe.
Mickey & Sage at The Incubator
-PJ Grisar, nytheatre.com
September 23, 2012