from "Designing Women" (Live Design Magazine, October 2008) 

“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

NEXT FALL (Dallas Theater Center 2012)

"The waiting room is where everyone except Luke comes at some point – it is the only place they all meet. In many theatre productions the set is a separate entity and the lighting is only used to illuminate it. 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)

The Magic Flute: A Sound-Op Era (Target Margin Theater 2010)

"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)

A Thousand Thousand Slimy Things (Polybe + Seats 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)

Granada (Polybe + Seats 2009)

"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)

LOL (Algonquin Theater 2009)

"Director Duane Boutte does his best with the tiny theater he has to work with- and with environmental staging and help from Natalie Robin's very effective lighting, nearly overcomes the limitations of the space; the staging of the penultimate scene is really startling and impressive." (broadwayworld.com)

Scandalous People (Fringe NYC 2009)

"Technical matters are nicely handled by Obediah Wright’s choreography, Lisa McFadden’s eye-popping costumes, and the lighting design of Natalie Robin— her occasional use of single spotlights to draw the audience’s eye is an ingenious, minimalist touch." (NY Beacon)