"Clever staging and effective use of lighting, along with minimal set design, created a visually engaging experience that captured the heart of The Youth’s story." – Kathleen Anwar​​, BroadwayWorld
"Props to the scenic design by Sydney Lynne and lighting by David Goodman-Edberg for the deceptively simple set and evocative lighting." – Kathy D. Hey, Third Coast Review
"The light follows the ripple in an impressive display of timed light choreography." – Tristan Bruns​​, See Chicago Dance
"Lighting, designed by David Goodman-Edberg, bolsters the set’s effects with realistic and moody lighting, an element that, once again, provides insight into Beowulf and his mother’s thoughts and how trapped they feel because of them." – Cori Lang​​ Musical Theater
"...the lighting design by David Goodman-Edberg, is subtle and powerful, making this small space feel bigger and smaller as needed by the script’s actions." – Jonathan Pitts​​, Chicago Stage and Screen
"The small space was used thoughtfully by set designer Sam Stephen and lighting designer David Goodman-Edberg." – Katherine Buzard, Chicago Classical Review

"The mood is aggressively energetic, the movement throughout a dazzling display of flawless technique in episodes dramatically and spatially partitioned by shifts in the light. The light drives the story: in a blistering solo, Andres Castillo Gomez is pulled by its force—then, immediately following, Meagan Cubides is pushed in all directions by a bright beam wheeled around her and across the floor by Brandon Talbott. Duets and trios materialize within bright polygons defined by their contrast with the darkness surrounding. From their geometric masses, Michelle Meltzer is lifted up and passed from hand to hand, peering down from the air like an exquisite extraterrestrial. The company clusters in a corner, shadows looming out the length of the long diagonal, throwing patterns far larger than humans can reach on the floor." – Irene Hsiao, Chicago Reader
"This is due to the eerie lighting design by David Goodman-Edberg, who used powerful white lights to carve out shapes from within the darkness." – Tristan Bruns, See Chicago Dance

"The lighting during the scene in which Babbage shows Ada his difference engine was especially magical. Katherine Buzard, Chicago Classical Review

“David Goodman-Edberg’s eerie lighting design, which flickers just infrequently enough that the world never quite comes to rest, keeps the audience unrelentingly attached to the characters’ experience.”  – Christine MalcomEdge Media Network

“It’s doubtful that the experience would function as it needs to, though without the manipulation of light and sound. David Goodman-Edberg’s lighting design contributes to the sense that the space is larger and more labyrinthine than it actually is. Corey Smiths’ sound design is somehow simultaneously unobtrusive and relentless, raising things to a fevered pitch to signal the end of one “act” and the beginning of the next.” – Christine Malcom, Edge Media Network
“Although these created creatures certainly are spellbinding in their own way, what gets to you as you circle in the Harrow House is the combination of light and sound. The lighting, or lack thereof in same parts, is handled well by David Goodman-Edberg.” – Rick Copper, Northwest Herald

“CRDT exceeds our expectations as stunning lighting guides us through the story of Wilfredo Rivera’s American Catracho” – Sarah Stearn, Picture this Post

“Even with the intimate scale of the Factory Theater, Jeff Award-winning Director Spenser Davis makes full use of the stage, moving seamlessly from scene to scene (with the aid of some fantastic lighting work by David Goodman-Edberg) so much I found myself remarking how well he pulled it off.”  – Rick Copper, Northwest Herald

“The way the director and designers use the space to create ambiance is what helps DARK MATTERS rise above the fray. Behind the carpeted living room that serves as the set, a wall of glass doors separates us from a high-ceilinged, gymnasium-like room that is kept mostly dark, giving the allusion of a vast, empty nighttime. Off where we can’t see it, a single stage light shines indirectly from the other room and filters through the glass, creating fractal rainbows that feel uncanny and strange. The color of this unseen stage light shifts at key moments in the story. Meanwhile, six or seven household lamps softly illuminate the living room that we see. Sometimes actors turn these lamps on and off – but sometimes, they flicker off and on of their own accord, adding to an otherworldly, ghostly feeling. Lighting designer David Goodman-Edberg has done remarkable work here, and works well with the original score (MindExchange Music) to push the action forward, threading intrigue and suspense through the show like string through a needle.”  – Aaron Lockman, PerformInk
“An effective lighting design by David Goodman-Edberg that employs ominously flickering practical lamps” – Kris Vire, Storefront Rebellion

“This team’s ability to envelop us in the comic book aesthetic by transforming a 2D art form into a 3D one is especially evident in the design. David Goodman-Edberg’s lighting constantly surprises and delights with moving LEDs, which — integrated with Hayden Penn’s set design — create a life-sized comic-book frame for which the actors to play. Robert Hornbostel’s sound effects in concert with Goodman-Edberg’s snappy cuts between washes and spots invoke the unique asides of the comic art form, as well as creating moments of satire.” – Bec Willett, PerformInk

“Chad Eric Bergman’s solarium scenic design, Rachel Sypniewski’s period perfect costumes, David Goodman-Edberg’s eerie lighting, Nigel Harsch’s wonderful original musical score and sound design and, especially, Leticha Guillaud’s imaginative props make this production reek with Halloween horror.” – Colin Douglas, Chicago Theatre Review
“…the moody lighting by David Goodman-Edberg and the pitch-perfect Hammer Films sound design by Nigel Harsch do a lot to elevate the material to a higher, spookier plane.” –  Alex Huntsberger, Time Out Chicago

“…deft utilization of shadow, silhouette and the densely vegetated setting’s natural gloom to create a twilight chiaroscuro facilitating the threatening images conjured by our imaginations.” – Mary Shen Barnidge, Windy City Times
“Accompanied by the haunting sounds of Sarah D. Espinoza and the mysterious shadows of David Goodman-Edberg, this trifecta of designers shows us exactly what technical expertise can do and how vital it is in creating the world of the play.” – Bec Willett, PerformInk

Feature on the lighting design for both pieces on dancermusic.com

“The strength of this production is the world they’ve created. From the fantastic Martian costumes from designer Stefanie Sajib-Johnsen and masks from Jeff Harris, to the projections and lighting design from David Goodman-Edberg, a Martian world was created.” – Chicago Stage Standard (note: projection design was actually by Tiffany Keane Schaefer)

“Abby Ellison’s striking “Everywhere But Here” gained strength from its insistent through line, its choreographic ingenuity, and from David Goodman-Edberg’s magical cones of light, interrupting pedestrian life: People striding purposefully would suddenly falter, would stutter or stagger, in these zones.” – Laura Molzahn, Chicago Tribune

“Lighting by David Goodman-Edberg re-creates the moody look of old-style music videos with big shadows, silhouettes rimmed in light, dramatic shifts between dark and bright.” – Laura Molzahn, Chicago Tribune

“Lighting designer David Goodman-Edberg cleverly placed lights outside the church’s windows to act as moonlight, and he used a few other ingenious lighting tricks to create some gorgeous special effects which you must see for yourself to truly appreciate.” – Elijah Cox, Loyola Phoenix

“David Goodman-Edburgh’s lighting creates strong diagonal shadows seemingly thrown by streetlights…” – Laura Molzahn, Chicago Tribune
Back to Top