Bloody Bloody Andrew Jackson, Theatre Three

This was a magnificent, powerful, rich, and superlative production. Bruce R. Coleman once again displayed his title as one of the finest directors in this community with this musical. The eye popping, lavish design of costume, lighting, sound, and scenic were the best I've seen in years at T3.

--John Garcia 2012 Best of Dallas

 

 

Language of Angels, Theatre Too

For starters, Schmidt designs his own set with soft black cloth swaged to seem hard. The craggy, baggy walls and blocky rocks hide nooks and night-lights that allow for hiding and finding. Paul Arnold’s lights reveal and conceal in unexpected ways. These designers don’t seem bound by this basement space.

--David Novinski Full Review

 

...The lighting never distracted from the scene. Rather, the lighting created the tone and mood of every moment. By far, this was the most innovative and effective use of lighting I had seen in a number of years.

--Sten-Erik Armitage Full Review

 

Paul Arnold lights the darkness in all kinds of unconventional ways...

--Lawson Taitte, Dallas Morning News Full Review

 

 

I Love You, You're Perfect, Now Change, Theatre Too

On a technical note, I need to give a hearty "well done" to Paul Arnold for his excellent lighting design. Theatre Too is a small, intimate venue. Paul's lighting design made the stage come to life. With some lighting cues requiring a hair trigger to capture the moment, he exhibited the eye of an artist as he painted the area with light. At times the lighting accented the comedy of the moment, or the poignancy of painful emotion. Treating the light panel as an actor in its own right is a challenge, but Paul succeeded.

--Sten-Erik Armitage Full Review

 

 

Woody Guthrie's American Song, Theatre Too

Kudos must also be given to Lighting Designer Paul Arnold. The use of blue and vanilla hues to saturate those folk numbers were perfection. You could feel the heat of the dust bowl or the loneliness of riding a box car late at night with Arnold's lighting. I particularly enjoyed the lighting he created for the movement of the box cars across the railroad tracks.

--John Garcia

 

 

Shadowlands, Theatre Coppell

The area lighting was flawless. One must never under appreciate a good, even wash, and Paul Arnold's was so warm and soothing. Mr. Arnold also did an incredible job using very few fixtures and gobos to create numerous looks and scene locations, giving us reprieve from the fixed English study from time to time.

--Alex Hargis Full Review

 

 

Look What's Happened to Pixie Decosta, Theatre Too

The creative team behind the staging of "Pixie:" costume designer Bruce R. Coleman, lighting designer Paul Arnold, sound designer Richard Frohlich and the previously noted set designer, David Walsh have balanced and orchestrated their contributions to recreate the kind of bizarre world you can only find in the grotesque creep-a-thons found on the silver screen (and apparently) the theatre. From the Cherry Red Jell-o spot used to summon Pixie's pathological attacks, to the mawkish, overblown music; from the beverages with non-sloshing liquids to the box of Rat Poison you could see from the back row; from Helen's ostentatious chapeau with more flowers than a botanical garden to Viddy's eye-popping dress and apron ensemble -- these four artisans have fashioned a hypnotic experience normally unavailable without the help of hallucinogenics.

--Christopher Soden Full Review

 

 

Pippin, Theatre Coppell

Paul Arnold's wonderful lighting design completes this first rate design trio within this production. A balanced use of color and spotlights works in pristine unison here on the intimate stage. He covers the stage in hues of blue, red, and pink that bathes the set, creating a warm, enchanting glow all around the stage.

--John Garcia Full Review

 

 

Oliver, Theatre Coppell

Lighting Designer Paul Arnold must also be given recognition. The navy blue screen behind the buildings coupled with the soft lighting and detailed gobos gave the feel of a London street at twilight, and the harsh lighting in the scenes in the orphanage and tavern made the setting feel seedy without being too dark to see the actors' expressions.

--Mandy Rauch