From Review for "Twelfth Night", Berkeley Shakespeare Festival:
"Under Kurt Landisman's luscious jewel lighting, the
screens glow green and violet for some scenes, glimmer like moonstones and tourmalines in others."
-Judith Green, San Jose Mercury News
September
26, 1990
From Review for "Samson and Dalila", Los Angeles Opera
"Kurt Landisman's
lighting design lends a suitably pre-Raphaelite prettiness to Douglas Schmidt's monumental Hollywood-Babylon dream of a set
that also is echoed in Lawrence Foster's lithe yet forceful conducting."
-Reed Johnson, LA Daily News
September 10, 1999
From Review for "The Hairy Ape", Marin Theatre Company
"John B. Wilson (sets) and Kurt Landisman (lighting)
respond with a nest of sharp angles and contrasts. Spears of white light shoot across a grid of steel girders, struts and
bridges."
-Steven Winn, San Francisco Chronicle
March 22, 2002
From Review for "Tosca", Sacramento Opera Company
"They applauded lighting designer Kurt Landisman and
stage director Zoe Pappas, who was faithful to Puccini's paces and pauses in the action and handled well the liturgical mob
in the great Te Deum scene that ends Act I."
-William Glackin, Sacramento Bee
June 12, 2000
From Review for "Ghost Sonata", San Francisco Opera
"The production, done in black and white, is riveting, propelled by
Kurt Landisman's eye-popping lighting and projections onto the raked stage of Theatre
Artaud"
-Paul Hertelendy, San Jose Mercury News
July 27, 1990
