LIGHTING DESIGNER
THOM WEAVER
“Daniel Conway has designed a setting, strikingly lighted by Thom Weaver, that references both Louise Nevelson and Diego Giacometti in its sculptural forms. It's a knockout.”
Naomi Siegiel, NY Times
Macbeth
“Daniel Conway's set is imposing, Devon Painter's costumes are rich and leathery, but Thom Weaver emerges as the design star through his lighting. It encompasses everything from a bright Scottish morning to blood red for the killing fields, not to mention an intriguing use of shadows.”
Peter Filichia, Newark Star-Ledger
Macbeth
"a sleek black set by Kevin Judge that is enhanced by the stately, real-life projections of Michael Clark and the dazzling lighting by Thom Weaver."
Jaques La Sourd, Gannett News
Frankenstein
"There's also an open space on stage right as well as an upstage area for some fine visual effects which particularly serve as a showcase for the lighting designer Thom Weaver whose work is especially notable in an early scene when only the scary, looming shadow of the creature is seen after it has escaped from Victor's laboratory."
Simon Saltzman, CurtainUp.com
Frankenstein
"The lighting by Thom Weaver is also impressive "
Malcom Johnson, Hartford Courant
Frankenstein
"Bill Fennelly's direction is sharp and quite beautiful, making full use of Kevin Judge's sets, Thom Weaver's lighting, Emily Pepper's costumes, Domonic Sack and Carl Casella's sound, and Michael Clark's projections."
David A. Rosenberb, Backstage
Frankenstein
"The production design works best. The set - steely gray stairways, sliding doors and platforms - is drenched in shadowy lighting. Projections give the story scope."
Joe Dziemianowicz, NY Daily News
Frankenstein
"The lighting, by Thom Weaver, is starkly atmospheric, and quite effective as well."
Julie Reed, Associated Press
Frankenstein
"There's also a novel lighting grid over the central playing area, with 88 instruments beaming down to create some intriguing stage pictures. "
Steven Suskin, Variety
Frankenstein
“A stark, dark staging (Michael Rupert directed this York Theater Company production; lighting is by Thom Weaver) completes the effect.”
Neil Genzlinger, The New York Times
Thrill Me
The York Theatre- May, 2005
“…..and special praise goes to Thom Weaver for creating moods, playing spaces, and startling effects with his brilliant lighting design.”
Barbara & Scott Siegel, Theatremania.com
Thrill Me
The York Theatre- May, 2005
“Aside from the two actors, the third co-star of the show is Thom Weaver 's lighting. Deceptively simple looking, Weaver imbued the stage with a haunting glow that lent the proceedings the appropriate gravity. His one aberration from stark white light was for a "love scene" as the two watched the aforementioned warehouse go up in flames.”
Mark A Newman, Entertainment Design Magazine
Thrill Me
The York Theatre- May, 2005
”The lighting design by Thom Weaver is simply stunning, particularly in a scene where the duo burn down an abandoned building.”
Ron Lasko, Broadway.com
Thrill Me
The York Theatre- May, 2005
“Thom Weaver's striking lighting and Jennifer Paar's costume design facilitate Bauer's transition from middle-aged prisoner to nineteen-year-old. Weaver's lighting is absolutely stunning in the two crime seasons -- the first an act of arson, the second the kidnapping of young Bobby Franks.”
CurtainUp.com
Thrill Me
The York Theatre- May, 2005
“Jennifer Paar 's costumes are period perfect, and James Morgan 's stark all-black set provides just the right frame for Thom Weaver 's brilliant lighting.”
John Kenrick, Musicals101com
Thrill Me
The York Theatre- May, 2005
“…and Thom Weaver's outstanding lighting deliberately bring only Richard into clear focus.”
Mathew Murray, TalkinBroadway.com
Thrill Me
The York Theatre- May, 2005
“Thom Weaver's lighting design is straightforwardly effective”
MathewMurray, Talkin'Broadway
The Gay Naked Play
Ensemble Actors Theatre- June, 2004
“Italian American Cantos is directed by Gregory Simmons and features an attractively spare and utilitarian production design by Thom Weaver.”
Martin Denton, Nytheatre.com
Italian American Cantos
SOOP Theatre- April, 2004
“Co-scenic designers Tony Ferrieri and Abigail Hart Gray, sound designer Elizabeth Atkinson and lighting designer Thom Weaver create a slick, contemporary and upscale but comfortable environment for these discomforting deliberations.”
Alice T. Carter, Pittsburgh Tribune-Review
Lovely Day
City Theatre Company- November, 2003
“ Thom Weaver made exceptional use of the limited lighting resources available, adroitly employing blackouts with spotlights for accents, and even the house lights were put to good use in his commendable illumination scheme.”
Richard Houdek, Berkshire Eagle
The Secret Marriage
Berkshire Opera Company- July, 2003
“Kudos must also go to Jennifer Halpern, for the extravagance or her costumes, Thom Weaver for outstanding handling of the lighting…..”
Simon Wairnrib, The Berkshire Transcript
The Secret Marriage
Berkshire Opera Company- July, 2003
“The Secret Marriage, with it's cast of young singers and streamlined production (some chairs, a bedecked wedding table, and effective primary-colored lighting designed by Thom Weaver ”
Clifton J. Noble Jr., The Republican
The Secret Marriage
Berkshire Opera Company- July, 2003
“….. Thom Weaver's electrifying work with lights (he's given only "consultant" billing in the program, but his work here is thoroughly artistic and vital)”
MathewMurray, Talkin'Broadway
Thrill Me
Midtown International Theatre Festival- July, 2003
“ Thom Weaver's light design, however, creates atmospheric pictures with its use of color and shadows. The lighting, in fact, often creates dramatic transitions and is one of the more effective elements in the production.”
Macy Levin, CurtainUp.com
Heat Lighting
The Kirk Theatre- March, 2003
“However, the space is lovely--cozy, warmly lit, with just enough exposed brick, classroom-type furniture and overflowing bookshelves to convey the essence of Einstein.”
Jenny Sandman, CurtainUp.com
Einstein's Dreams
Holderness Theatre Company at The Culture Project- January, 2003
“ Thom Weaver's lighting and Astrid Janson's sets and costumes help complete the picture of two people dealing with issues of love, hate, and race over the course of their lives.”
MathewMurray, Talkin'Broadway
Harlem Duet
Blue Heron Theatre- November, 2002
“Thom Weaver 's lighting effectively reconfigures the space from scene to scene, alternating between sharply cut geometric looks and creepy footlight effects.”
David Barbour, Entertainment Design Magazine
The Transparency of Val
Clemente Soto-Valez-July, 2002
“Lighting designer Thom Weaver , another young talent who caught Appels' eye, has sculpted the dancers, caressing their lithe bodies and long limbs with light.”
Ellen Lampert-Greux, Entertainment Design Magazine
An Operation Can Vanish
Clark Studio Theatre, Lincoln Center-March, 2001
