"Natalie Robin’s gorgeous, shadowy lighting design almost qualifies as a 27th performer."

The New York Times on The Bad and the Better, 2012

"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)


"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." ( on Granada, 2009)