Dark Matters

“The way the director and designers use the space to create ambiance is what helps DARK MATTERS rise above the fray. Behind the carpeted living room that serves as the set, a wall of glass doors separates us from a high-ceilinged, gymnasium-like room that is kept mostly dark, giving the allusion of a vast, empty nighttime. Off where we can’t see it, a single stage light shines indirectly from the other room and filters through the glass, creating fractal rainbows that feel uncanny and strange. The color of this unseen stage light shifts at key moments in the story. Meanwhile, six or seven household lamps softly illuminate the living room that we see. Sometimes actors turn these lamps on and off – but sometimes, they flicker off and on of their own accord, adding to an otherworldly, ghostly feeling. Lighting designer David Goodman-Edberg has done remarkable work here, and works well with the original score (MindExchange Music) to push the action forward, threading intrigue and suspense through the show like string through a needle.”  – Aaron Lockman, PerformInk

“An effective lighting design by David Goodman-Edberg that employs ominously flickering practical lamps” – Kris Vire, Storefront Rebellion

One More Meanwhile

“This team’s ability to envelop us in the comic book aesthetic by transforming a 2D art form into a 3D one is especially evident in the design. David Goodman-Edberg’s lighting constantly surprises and delights with moving LEDs, which — integrated with Hayden Penn’s set design — create a life-sized comic-book frame for which the actors to play. Robert Hornbostel’s sound effects in concert with Goodman-Edberg’s snappy cuts between washes and spots invoke the unique asides of the comic art form, as well as creating moments of satire.” – Bec Willett, PerformInk

Ghosts and Zombies

“Chad Eric Bergman’s solarium scenic design, Rachel Sypniewski’s period perfect costumes, David Goodman-Edberg’s eerie lighting, Nigel Harsch’s wonderful original musical score and sound design and, especially, Leticha Guillaud’s imaginative props make this production reek with Halloween horror.” – Colin Douglas, Chicago Theatre Review

“…the moody lighting by David Goodman-Edberg and the pitch-perfect Hammer Films sound design by Nigel Harsch do a lot to elevate the material to a higher, spookier plane.” –  Alex Huntsberger, Time Out Chicago

Night in Alachua County

“…deft utilization of shadow, silhouette and the densely vegetated setting’s natural gloom to create a twilight chiaroscuro facilitating the threatening images conjured by our imaginations.” – Mary Shen Barnidge, Windy City Times

“Accompanied by the haunting sounds of Sarah D. Espinoza and the mysterious shadows of David Goodman-Edberg, this trifecta of designers shows us exactly what technical expertise can do and how vital it is in creating the world of the play.” – Bec Willett, PerformInk

Beneath the Clouds, Above the Rest  When in Doubt

Feature on the lighting design for both pieces on

A Princess of Mars

“The strength of this production is the world they’ve created. From the fantastic Martian costumes from designer Stefanie Sajib-Johnsen and masks from Jeff Harris, to the projections and lighting design from David Goodman-Edberg, a Martian world was created.” – Chicago Stage Standard (note: projection design was actually by Tiffany Keane Schaefer)

Everywhere but Here

“Abby Ellison’s striking “Everywhere But Here” gained strength from its insistent through line, its choreographic ingenuity, and from David Goodman-Edberg’s magical cones of light, interrupting pedestrian life: People striding purposefully would suddenly falter, would stutter or stagger, in these zones.” – Laura Molzahn, Chicago Tribune

What Brings Me to This Place

“Lighting by David Goodman-Edberg re-creates the moody look of old-style music videos with big shadows, silhouettes rimmed in light, dramatic shifts between dark and bright.” – Laura Molzahn, Chicago Tribune

Gone Dark

“Lighting designer David Goodman-Edberg cleverly placed lights outside the church’s windows to act as moonlight, and he used a few other ingenious lighting tricks to create some gorgeous special effects which you must see for yourself to truly appreciate.” – Elijah Cox, Loyola Phoenix

Unfinished Work

“David Goodman-Edburgh’s lighting creates strong diagonal shadows seemingly thrown by streetlights…” – Laura Molzahn, Chicago Tribune