"Natalie Robin’s gorgeous, shadowy lighting design almost qualifies as a 27th performer."
The New York Times on The Bad and the Better, 2012
"The design team has done fine work executing Richard’s vision of Rome. Robin Vest’s white-and-gold set glistens like marble under the florescent lights directly above it. The lighting design by Natalie Robin makes the white set gleam, yet starkly illuminates the actors at times. The visual contrast between the brightly lit porcelain-colored set and the dark deeds performed onstage helps give the production a rare visual vibrancy that only happens when the director and the designers share the same vision ... The result of the designers’ work is that theatergoers feel as though they are peeking around pillars, eavesdropping on the local political intrigue similar to what might be discussed in any town square before an annual town meeting." (Judy Harrison, Bangor Daily News on Julius Caesar, 2016)
"The Monomyth was told in several scenes, each of them boxed or framed in light, by Natalie Robin ... As the light shone on her, it caught the gleam of gilding that covered one ear lobe, another subtle sculptural and mythic image ... Finally, in the simple downstage light that had framed the opening, Boulé quietly reprised her early dance of knees and fingertips, and offered a quiet coda to this brief encyclopedia of heroic mythic images, a woman of marvelous power and complexity." (Martha Sherman, danceviewtimes on The Monomyth, 2017)
"Uchizono and collaborators David Shively (music) and Natalie Robin (lighting) have tossed practicality aside in favor of something that not only challenges your visual perspective but lights up your nervous system." (Eva Yaa Asantewaa/Infinite Body on Sticky Majesty, 2016)
"Natalie Robin’s lighting, clear and clean for the first half of the piece, turns dramatic for the second—changing colors, casting shadows, making beams slide across the floor" (Deborah Jowitt, ArtsJournal on Sticky Majesty, 2016)
"And the strangely courtlike atmosphere is mainly marked by separation. The courtiers, as if waiting in antechambers, occupy whichever half of the space the monarchs aren’t occupying. Natalie Robin’s lighting makes dramatic changes between the different zones of stage space." (Alistair Macaulay, The New York Times on Sticky Majesty, 2016)
"It begins without warning.
The lights haven’t come down, and the curtain hasn’t come up. The audience is casually chatting, children talking over the backs of their chairs with their parents in the next row, wondering if the stage can possibly go as far back as it looks. And suddenly the stage is filling with actors, running in from the wings, swinging chair legs, dropping wigs — and freezing as they notice, one by one, the room-full of people watching them.
They play with the audience. They play with the light and sound cues, circling a hand, cocking a hip, play it again, Sam. And in Richard Wilbur’s translation, they play with meter and rhyme." (Kate Abbot, BTW Berkshires on Tartuffe, 2018)
"Natalie Robin’s lighting design not only complements Vest’s set but also seems somehow to be coordinated with Leva’s score. The lighting plot is complementary but not invasive." (Judy Harrison, Bangor Daily News on An Iliad, 2016)
"Even Hawa’s final exit, a baby in her arms, leaves more questions than answers lingering on the slow fade of light that follows her. This is extraordinary work from the actress, the director and the designer. This is great theater (eat your heart out Francesca Zambello) with its direct simplicity and emotional stoppers." (The Berkshire Edge on In Darfur, 2014)
"Richards’ vision of The Seagull is beautifully executed by scenic designer Ray Neufeld, costumer Carol Farrell, lighting designer Natalie Robin and sound designer Mark Van Hare. The work of Robin and Van Hare is essential in creating the subtle changes in mood that take place in the play’s final act staged in the barn. It's a production not to be missed." (Bangor Daily News on The Seagull, 2015)
"The magic is furthered by Natalie Robin's lighting (finding all the colors of a night in the woods - some natural, some perhaps something else) and the strange yet joyous sound design that throws us deep into Lydia and Daniel's inside jokes and past." (NYtheaternow on Chop Your Own Wood, 2015)
"It’s almost worth seeing for Alfred Schatz’s rambling set, which squeezes an East Village bar, an apartment and various locales onto a handkerchief-size stage, and Natalie Robin’s equally deft, moody lighting." (Bloomberg Press on The Bad and the Better, 2012)
"Lighting shifts (designed by Natalie Robin) are critical to the successful establishment of multiple locations on the small stage, cleverly laid out by Albert Schatz to serve alternately as a bookstore, a bar, a cop's office, protester-filled New York City streets, a house on Long Island, and a penthouse." (Associated Press on The Bad and the Better, 2012)
"Natalie Robin's design went well beyond mere illumination and became an integral partner to the set design. Using eight gobos, seven custom glass gobos, she created these small blocks, almost pixels of light that elevated up the red and blue walls to represent the skyscrapers and one lone distant rooftop water tower that enveloped the hospital in the heart of Manhattan. With the use of oodles of gels and gel scrollers, the skyscrapers dimmed or faded in and out imperceptibly with each scene change. Adding a semi-circle of fluorescent tubes to the outer edge of the light grid lent the waiting room a sickly blue, clinically sterile aura." (Pegasus News on Next Fall, 2012)
“Natalie does not make assumptions. She has an excellent understanding of traditional solutions to lighting problems, and yet she does not assume that the traditional way is the best way to solve any given situation. Her creative thinking is always specific to the play or the dance or the performance that she is designing. She listens to the play, to the director, to her fellow designers, and crafts her designs accordingly. Nothing is impossible to Natalie. It might be difficult, but she always believes that some sort of solution exists, and her passion for her craft drives her to work with her collaborators toward that end. Natalie is both a realist and a dreamer at once, and that balance helps her achieve great results.”
— Lenore Doxsee, Freelance Lighting Designer and Associate, Drama Department, NYU Tisch School of the Arts in "Designing Women" (Live Design Magazine, October 2008)
"By the end, the theater itself is drained away and it only leaves the beauty of Kate Marvin and Diana Konopka's musico-auditory experience, and the simple and stunning visual lighting design of Natalie Robin ... Somewhere towards the end, when there was nothing but a beautiful sea of lights and the musico-auditory experience, I nearly burst into tears. I have no idea why or how. It was a beautiful dream of music, and I followed it and lived it wholly. It broke me on a level I don't understand." (Culture Future on the Magic Flute: A Sound-Op Era, 2010)
"Natalie Robin’s lighting design compliments the space, drawing attention to the interior when necessary and at other moments beautifully taking us underwater ... The visual mess juxtaposed with a lyrical script suggest the abyss that has been created between our idealized relationship to the sea and our actual indifference." (Off Off Online on A Thousand Thousand Slimy Things, 2010)
"Congratulations go to the director, Jessica Brater, and to the designers for constructing the atmospheric Ladino world of Granada ... Lighting by Natalie Robin, assisted by Marika Kent, effectively utilizes non-theatrical lighting techniques and lots of practicals to fashion an environment and mood out of floodlights, lanterns, candles, and a few simple electrical cables." (Theateronline.com on Granada, 2009)