What others have said......

The following are excerpts from newspaper reviews.


  • "The bland yet functional set design of a Midwestern country homestead by Richard Turick is enhanced by Jeff Greenberg's crisp lighting design." - Robert L. Daniels; Variety.com; April 11, 2005 (Song of Grendelyn)


  • "An atmospheric lighting design complements the play's more mysterious moments. A small and tidy but functional set is centered by a small table and three chairs, accented by six revolving panels that reveal sculpted reliefs of figures, including a curvaceous Pandora -- a metaphorical image whose very touch appears to produce hedonic pleasures." - Robert L. Daniels; Variety.com; January 19, 2005 (Touch of Rapture)


  • "The black-and-white diamond-tiled set of Fred Kinney, effectively lit by Jeff Greenberg, shifts easily to evoke Sharon's corridors of power, Matt's office, a hotel room, a park picnic. Along with Sharon and Matt, just about everything in Mr. Folie's play, even the scenery, is ultimately treated to a series of 'adjustments.'" - Naomi Siegel; New York Times; June, 2003 (The Adjustment)


  • "It's Jeff Greenberg's lighting design that takes tech honors. Actors and lighting are partners here, shifting smoothly with each other to effectively suggest a number of different settings." - Philip Dorian; Two River Times; July, 2003 (The Adjustment)


  • "Winner: Greenberg. He showed us Russia from Dawn to dusk, both on sunny and (many more) drab days, but especially provided the right indoor atmosphere for turn-of-the-century, candle-lit nights." - Peter Filichia; Newark Star Ledger; June 8, 2003 - in his explanation of why he chose me as the winner of his Best Lighting award for New Jersey theatres for the 2002-2003 season.


  • "....the capable cast is aided enormously by Jeff Greenberg's richly textured and evocative lighting." - Tom Chesek; Asbury Park Press; February 4, 2003 (Winterizing the Summer House)


  • "The Lighting Design (Jeff Greenberg) not only captured the times of day perfectly, but we even sense approaching autumn." - Philip Dorian; Two River Times; February 7, 2003 (Winterizing the Summer House)


  • "Jeff Greenberg's superb lighting is up to every one of the play's mood swings. Under his various gray, blue and green hues, many in the cast show the melancholy for which Russian plays are famous." - Peter Filichia; Newark Star Ledger; Sept. 24, 2002 (The Brothers Karamazov)


  • "The set design by Lisa Ebbert and Kris L. Kelleher is effective and appropriate to the material, as is Jeff Greenberg's lighting design, most notably in the simple yet accurate fireworks effect in Act II." - Bill Van Sant; Essex Journal; May 9, 2002 (Annie Warbucks)


  • "...he creates a unified and theatrically effective visual style for the production. That style is powerfully enhanced by Jeff Greenberg's lighting. The first image of the Elephant Man trapped in a stark white spotlight is, in its simplicity, breathtakingly dramatic." - Thom Molyneaux; Community Life; April 17, 2002 (The Elephant Man)


  • "Jeff Greenberg's lighting scheme is most effective (some new lighting equipment, thanks to a generous grant, is put to great use) and helps showcase the period perfect costumes.... - Naomi Siegel; The Montclair Times; April 18, 2002 (The Elephant Man)


  • The lighting, designed by Jeff Greenberg, is truly extraordinary as it highlights the characters, even when they are not involved in the action of a scene. Merrick is lit with special luminosity appropriate for this very special human being" - Ruth Ross; Essex Journal; April 18, 2002 (The Elephant Man)


  • "...this writer found the set design of the couple's kitchen by Jeremy Doucette, to be outstanding, as well as the costumes by Patricia Doherty and lighting by Jeff Greenberg. - The Link; February, 2002 (Till Morning Comes)


  • "You will certainly develop new respect for the expertise and contribution of backstage and technical crews after seeing this show. Without them, and without the guidance of lighting by Jeff Greenberg......this show could never flow as easily as it does." - Bangor Daily News; October 9, 2001 (The Mystery of Irma Vep)


  • "Kris L. Kelleher's inspired scenic design was marvelous, as were the lights by Jeff Greenberg." - Bill Van Sant; Essex Daily News; May 5, 2001 (Man of La Mancha)


  • "As usual at the Rep, production values are high -- with a nice set design by Bryan Higgason, good lighting by Jeff Greenberg and some lovely dresses by costume designer Patricia E. Doherty. SuzAnne Barabas keeps the musical flowing smoothly." - Gretchen Van Benthuysen; Asbury Park Press; May 1, 2001 (Immortal Interlude)


  • "...the downstage garden concept is inspired. Jeff Greenberg's lighting aids and abets the illusion perfectly." - Philip Dorian; Two River Times; May, 2001 (Immortal Interlude)


  • "...very functional set of gray stone walls and benches, nicely lit by Jeff Greenberg, sets the tone of the play -- the future is bleak." - Gretchen Van Benthuysen; Asbury Park Press; February 20, 2001 (An Unhappy Woman)


  • "Nicely directed by NJ Rep Artistic Director SuzAnne Barabas on Bryan Higgason's functional, all-white set, well lighted by Jeff Greenberg, the play moves along rather smoothly." - Gretchen Van Benthuysen; Asbury Park Press; May 31, 2000 (Octet)


  • "The set design, scenic art and lighting are incredible, lending a unified feel to the piece." - Bill Sant; Essex Journal; November 19, 1999 (Fiddler on the Roof)


  • "....The most consistently excellent aspect of The Playboy Stories was the technical work, Jeff Greenberg's lighting......" - OOBR review; May 2000 (The Playboy Stories)