Live Design Magazine, By Design: A Chat with Lighting Designer Elizabeth Harper
USC School of Dramatic Arts, Shining a Light on Elizabeth Harper
2018-2019 Ovation Award Nomination, With Love and a Major Organ, The Theatre @ Boston Court
2017-2018 Drama Critics Circle Award Nomination, The House in Scarsdale, The Theatre @ Boston Court
2017-2018 Ovation Award Nomination, Long Day’s Journey Into Night, The Geffen Playhouse
2017-2018 Ovation Award Nomination, The House in Scarsdale, The Theatre @ Boston Court
2016-2017 Ovation Award Winner, Golden Dragon, The Theatre @ Boston Court
2016-2017 Ovation Award Nomination, Ameryka, Critical Mass
2013-2014 Ovation Award Nomination, Play Dead, The Geffen Playhouse
2013-2014 Ovation Award Nomination, Stupid Fucking Bird, The Theatre @ Boston Court
2012-2013 LA Weekly Award Winner, House of Gold, Ensemble Studio Theatre, LA
2011-2012 Ovation Award Nomination, Good People, The Geffen Playhouse
2010-2011 NAACP Award Nomination, A Raisin in the Sun, The Kirk Douglas Theatre
2010-2011 Ovation Award Nomination, A Raisin in the Sun, The Kirk Douglas Theatre
2009-2010 Ovation Award Nomination, The Twentieth-Century Way, The Theatre @ Boston Court
Emerge, An Exhibit of Emerging American Designers, USITT 2011 Prague, Selected Participant
"The play — staged with simple effectiveness on a bare-bones academic set by Takeshi Kata and Se Oh that's lyrically lifted by Elizabeth Harper's lighting — employs a strategy that nearly gave me a heart attack the first time around."
Charles McNulty, LA Times, Office Hour
“The stash of vinyl lends the impression that we’ve been invited into the home of an urban bachelor accustomed to having guests. The mood music played on the turntable is original material from Moby. The lighting by Elizabeth Harper adds to the subtle date-night effect.”
Charles McNulty, LA Times, Invisible Tango
“Strobe lights, slow-motion high kicks — it’s the most cinematic fight scene I’ve ever witnessed on the live stage (featuring lighting design by Elizabeth Harper and fight direction by Rod Kinter).”
Alexis Reid, Eugene Weekly, Between Two Knees
”The set by Takeshi Kata and lighting by Elizabeth Harper create a magical theatrical heap evoking the father's work, the snake-strewn landscape and the burnpile.”
Charles McNulty, LA Times, Throw Me on the Burnpile and Light Me Up
"Breathtaking lighting by Elizabeth Harper"
Margaret Gray, LA Times, Grapes of Wrath
"People talk idly about designs serving a play, but the sculpted environment is genuinely a central participant here. Craig Siebels' narrow little boxes for act one's Southie locations are brightly lit by Elizabeth Harper to reveal the pulse of life within, whereas act two presents a wide expanse of glittering manse in which shadows hint at ugly secrets."
Bob Verini, Variety, Good People
"[The show put] most rock and electronic bands with firm set lists, little room for improvisation, and no bitchin’ light shows to shame. I was promised strobes and fog machines to simulate a beheading, and it was bequeathed unto me. God, if only The Pajama Game had featured a scene of Doris Day’s severed head dangling on the factory floor as a warning to the labor union."
A. Wolfe, Vice Magazine, The Last Days of Mary Stuart
"Elizabeth Harper's lighting design is haunting."
Tom Titus, LA Times, Little Black Shadows
"The stellar ensemble shines in a production enriched by lighting designer Elizabeth Harper and scenic designer Michael Ganio, whose hauntingly lit tenement towers loom over the Younger household like the crushing weight of history itself."
Bill Raden, LA Weekly, A Raisin in the Sun
"Scenic designer Michael Ganio and lighting designer Elizabeth Harper perfectly capture the oppressive nature of the cramped Younger home."
Lee Spindle, Backstage, A Raisin in the Sun
"From the brilliant lighting and precise costumes, to the perfectly subtle sound design, this production is the pinnacle of what what makes theatre, and the live experience, great."
Taren James, KPFK, The Twentieth-Century Way