Christina was interviewed for Rosco's Spectrum.
Christina is the receipient of a 2019 Knights of Illumination award for her work on The Wild Party. Read more here. |
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"one [set design] well augmented by Christina Watanabe's free use of lighting" -David DeWitt, NY Times |
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Priceless |
"the deft work of Mr. Prather, Ms. Palmer-Lane and the lighting designer, Christina Watanabe" -Sylviane Gold, NY Times |
Nibbler |
"Christina Watanabe (lighting design) and Christian Frederickson (sound design) ease the transition into the episodes of Roswell-like visitation with visual and aural effects that are eerie (as they should be) and also gleefully humorous.
- Charles Wright, CurtainUp |
"Thanks to the addition of the stunning lights by Christina Watanabe, the images that were cast were magical...colors that melted into one another." - Michael Block, Theatre in the Now |
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"a glorious, candy-colored technical wonder. A wall of lamps illuminates the theater, a disco ball sparkles, and a fluorescent moon changes colors overhead...It is a production which embraces the fundamental strangeness of the play, its psychosexual ambiguity and, uneasy negotiation of the boundaries between dreams and reality." - Eve Houghton, Yale Herald |
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"...the right balance of eerie and desolate for the play’s tone and locale" - Amanda Cooper, New Theatre Corps |
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Dancing Lessons |
"Kudos to Penguin regulars Patrick Rizzotti, the scenic designer, Dustin Cross, costume designer, and especially Christina Watanabe for her deeply affecting lighting design." - Peter Danish, Broadway World
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"She ingeniously took risks with surreal lighting choices, like a vast, violet, starry, sky splashed across the confined and ugly motel walls against the more realistic, dirty, colors of the harsh reality that’s imagined by May and Eddie." - Le-Anne Garland, Theatre Is Easy |
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Dandy Darkly's Trigger Happy |
"The lighting design by Christina Watanabe was striking. It was spooky yet optimistic." - Michael Block, Theatre In the Now |
Remains |
"Christina Watanabe’s lighting stunningly emphasizes the show’s dramatic moments. Her use of color and her manipulation of shadows in particular turn the stage into a stark and dangerous space. " -Rachel Lepore, Theatre is Easy |