Press
"Our media
designer, Aaron Harrow, built a 3-D
model of the space, and created 'virtual
projectors,' which allowed us to quickly
and accurately work out projector
placement before the room was even
built"
Lighting & Sound America's article on the American Woman exhibition at The Met
"...pinpoint-precise video projection on the backs of heads..."
Time Out on Inflatable Frankenstein at The Kitchen
"...a remarkable showcase of the powers of theatrical technology in the hands of a director who knows how to use it... gorgeously depicted in 360-degree video projections (by Aaron Harrow, Jeff Morey, and Peter Norrman.) The projections...become not just set elements (the library, a jail cell, a theatre’s red curtains), but fully integrated by the designers and director Kevin Cunningham into the narrative. The essentially bare stage becomes a limitless playing field, and Cunningham is adept at letting the technology serve the needs of the story. Not only do projections wrap around both stage and the audience seating area, there’s a projection plane between the audience and the performers, which creates an almost holographic effect—the men’s lost wives and lovers, crossing downstage of the actors; falling snow...what the projections bring to the piece is both breathtaking and uncanny "
NewYorkTheater.com on Spy Garbo
"the video is by Aaron Harrow, Jeff Morey, and Peter Norrman...As is always the case at 3LD, the work is technically flawless"
Lighting & Sound America on Spy Garbo
"Backed by a 130-foot-long curved screen, they share the playing space with flickering shadows, showers of screen static, propaganda and newsreel footage, ghostly holographic projections and the immortal images of Ingrid Bergman, Gary Cooper and Greta Garbo, among others. The dense visual textures are impressive..."
The New York Times on Spy Garbo
"the striking video design by Aaron Harrow, Jeff Morey and Peter Norrman, which surrounds the audience on three sides and melds together vast image arrays, including newsreel footage, movie clips and stunning holographic video projections of a couple of the women in their lives."
Theatermania on Spy Garbo
"...stunning visual effects make "Spy Garbo" resemble a cutting-edge video installation at the Whitney Museum...A library of endless corridors turns into a gigantic stadium turns into an ancient sewer with dripping water turns into a bombed-out street turns into a close-up of tomatoes splattering...At the end of the play, a thick red curtain parts—it's not real but a rich video image—the three live male actors take a bow, and the credits for the play roll up as if we had just been watching a movie."
Backstage on Spy Garbo
"...impressive, often lovely montages of computer animation, newsreel footage, archival photographs and cinematic shots of a woman in pretty costumes."
Time Out on Spy Garbo
"...director Oskar Eustis' handsome production...boasts some exceptional multimedia elements which elevate the work to something beyond a mere lecture...Eustis' marshaling of the show's multimedia elements -- Aaron Harrow's video design plays out on both two large screens that are surrounded by several smaller ones -- is particularly deft. It's in the show's images -- both stills and movies --- that theatergoers find the weight and true meaning of the events Wright's describing coming to life, sometimes with brutal clarity."
Theatermania on The Human Scale
"Wright’s work benefits from the same technology, such as the relatively new art of video projections, that plays such a large part in such theater pieces as Brief Encounter."
The Faster Times on The Human Scale
"With a gorgeous video design by Aaron Harrow as his backdrop, Wright leads the audience through the history and ongoing impasse between the Israelis and Palestinians."
Off Off Online on The Human Scale
"An animated, Luciferian tumble through the clouds ends in a clever credits sequence that apes Sirk’s 1955 romance."
Time Out on Whatever, Heaven Allows
"'Whatever' includes some funny video sequences (love that chain-smoking deer!)"
New York Times on Whatever, Heaven Allows
"five actors bounce around a whirring, screen-filled set (the video design is by Aaron Harrow)"
New Yorker on Whatever, Heaven Allows
"At turns incantatory and indulgent, Whatever, Heaven Allows mixes colorful video projection with bizarro song and dance numbers, baffling non sequiturs, cocktail party chatter, mixed-gender wrestling, and a very, very loose, ironic re-enactment of the main plot points of Sirk's melodrama."
Gothamist on Whatever, Heaven Allows
"In the final moments of the piece, six projectors projected images of ash or torn paper falling down the six columns that so define the stage at the Ohio. It was a brief but beautiful and sad image that spoke to the mood in the room."
The L Magazine on Nostradamus Predicts the Death of Soho
"Visual interest in the piece is helped along by some outstanding videos and projections designed by Aaron Harrow of New York's esteemed 3LD Art and Technology Center, several of which animate various optical illusions demonstrating Hitt's forays into neuroscience. Others, say a photo of Hitt as a gawky pre-adolescent or a representational drawing of an apartment building, serve to underline a specific story Hitt is relating rather than divert attention away from it."
Hartford Examiner on Making up the Truth