"The ingeniously atmospheric lighting was by Jeffrey E. Salzberg."

Jennifer Dunning, The New York Times (October 20, 2001)
Midare - Dance as Ever (New York)

"Jeffrey E. Salzberg's stellar lighting design greatly enriches the storytelling... Salzberg creates haunting effects, such as a window of pale light from the North Sea. Dusky purples bounce off the dark floor; cheery lavenders off the white backdrop. Salzberg uses a palette of light to paint changes in mood and location."

Elisabeth Crean, Seven Days (June 10, 2009)
Love, Isadora - Lost Nation Theater (Montpelier, VT)

"It was an extraordinarily moving piece, especially the elegiac last song. . .where the effective lighting (by Jeffrey E. Salzberg) seemed both to box the dancer in and to elevate him above all human suffering."

Mary Cargill, DanceView Magazine (Winter, 2001)
A Shropshire Lad - Dance as Ever (New York)

"Never did the low, wide stage of this theatre look better. . . the setting, lighting, and costumes would make any. . . ballet company proud."

Francis Mason, WQXR Radio - New York (September 19, 1999)
Mixed Repertory - Dance As Ever (New York)

"Lighting designer Jeffrey E. Salzberg enhances the atmosphere with beautiful effects. Moonlight filters through trees and glistens on the gently rippling river. Of course, there is no river; there are no trees. It's all stagecraft."

Elisabeth Crean, Seven Days (July 8, 2009)
Talley's Folly - Lost Nation Theater (Montpelier, VT)

"But the strong lighting, commanding choreography and the video backdrop...make for a fascinating and riveting performance."

Katharine Rust, Time Out New York (March 14, 2007)
Homeland Security: Bringing Dr. King Up to Date
(choreographed by Desmond Richardson) -
Castillo Theatre (New York)

"Visually, this "Doruntine" is raw and edgy...The lighting adds to the sense of urgent intensity, darkening the stage at moments when the living consort with the dead or bathing the stage in red...magical, dramatic stagecraft...."

Elizabeth Bachner, Offoffoff.com (October 11, 2008)
Doruntine
Blessed Unrest/Teatri Oda (New York)

"The scene in which conspirators against Henry V are executed becomes a macabre dance of grisly beauty thanks in large part to the moody lighting of Jeffrey E. Salzberg."

Brent Hallenbeck, Burlington Free Press (October 12, 2007)
Henry V
Lost Nation Theater (Montpelier, VT)

"A suggestive backdrop...along with creative light by Jeffrey Salzberg ...all come together to create the bleak but caring atmosphere."

Jim Lowe, Barre Montpelier Times Argus
(April 22, 2007)
Judevine - Lost Nation Theater (Montpelier, VT)

"Production values are all splendid, especially... Jeffrey E. Salzberg's very effective lighting design."

Martin Denton, nytheatre.com (March 11, 2006)
Shortly After Takeoff - Harbor Theatre (New York)

"The lighting design by Jeffrey E. Salzberg is a minor masterpiece of minimalism."

Lee David, Southampton Press (February 2, 2006)
What Makes Sammy Run (New York)

"Jeffrey E. Salzberg's lighting has the quiet task of stitching together the three distinct worlds the characters each inhabit, and keeping them all present for us as they individually present their story. The lighting sets clear moods without exaggerating them, giving the actors the prominence they deserve."

Alex Brown, Montpelier Bridge
(July 23, 2004)
Molly Sweeney - Lost Nation Theater (Montpelier, VT)

"The simplicity and clarity of Jeffrey E. Salzberg's lighting helped to create some of the most moving moments on stage this season and added to the emotional depth of Sea Marks."

Jay Handleman, Sarasota Herald-Tribune
(17^th Annual "Handy" Awards - August 10, 2003)
Sea Marks - Banyan Theater (Sarasota, FL)

"Jeffrey E. Salzberg's lighting gives a sense of candlelight, vindictiveness and power as each sensation is needed."

Jay Handleman, Sarasota Herald-Tribune (February 19, 2003)
The Lion in Winter - Banyan Theater / Theatre Works (Sarasota, FL)

"Two other factors help make this a very special work of art...The second is ...the lighting design of Jeffrey E. Salzberg. You can understand the magic of theater when you watch the creative synthesis used to create the show's centerpiece, the pool table."

Charlie McMeekin, Randolph Herald (January 30, 2003)
Gunslinger/Beaver Falls - Lost Nation Theater (Montpelier, VT)

"The sets, lights and costumes reveal wonderful little hints about the characters and their milieu, and the sunset...is gorgeous."

Ruth Wallman, Burlington Free Press (July 7, 2002)
Dinner With Friends - Saint Michael's Playhouse (Colchester, VT)

"Visually, the piece is stunning, thanks to...Jeffrey E. Salzberg's beautifully plotted lighting."

Jack Eddleman, Bradenton Herald (April, 2002)
Red Wedding - Players Theatre (Sarasota, FL)

"...Jeffrey Salzberg's eloquent, mood-enhancing lighting makes for a bedazzling, opulent feast for the eyes."

Jean Reed, Pelican Press (January 24, 2002)
Evita - Players Theatre (Sarasota, FL)

"Salzberg's lighting, which creates space and delineates time, lend(s) more depth to the play. . .the lighting. . .present(s) the tale vividly and smoothly."

Maya Avrasin, The Longboat Observer (January 25, 2001)
As Bees in Honey Drown - Island Players

"The lighting. . .is alive with subtle changes, vivid undertones, and lovely effects."

Barbara Molloy, The Bradenton Herald (January 2, 2000)
Three Girls Berlin! - Florida Studio Theatre (Sarasota, FL)

"...the play's shifting time frames (are handled) with clarity and precision, aided by the effective...lighting design of... Jeffrey E. Salzberg."

Michael King, The Houston Press (June 9, 1994)
A Soldier's Play - Ensemble Theatre (Houston)

"...exceedingly clever staging and design...a devastating blend of image and sound. . . ."

Punch Shaw, Fort Worth Star-Telegram (7 May, 1994)
To Turn Again - Contemporary Dance/Fort Worth

"Lighting, designed by Jeffrey Salzberg, was perhaps the most articulate element of the total design. Highly specific and widely variable, it was the chief means of transcendingthe limitations of the intimate theatre. . . ."

Thomas F. Soare, from the director's notes on the original
production of Plough The Earth Deep (May, 1975)