Hello, Dolly! Cohoes Music Hall, Cohoes, NY. Nov 2012.
“Director Jim Charles and scenic designer David S. Goldstein have made sure to feature the 19th century splendor of the Cohoes Music Hall…”
-Gail Burns, Berkshireonstage.com
“David S. Goldstein's set design is very stagy in an old-school way, and it meshes well with Halliday's work, creating a pleasing, unified look.”
-Michael Eck, Times Union, Albany
-Gail Burns, Berkshireonstage.com
“David S. Goldstein's set design is very stagy in an old-school way, and it meshes well with Halliday's work, creating a pleasing, unified look.”
-Michael Eck, Times Union, Albany
STUCK. 45th Street Theatre, NYMF 2012.
"The direction by Michael Berry is creative in his use of David S. Goldstein’s scenic design. The subway car is represented by two benches on casters with a frame of painted PVC piping surrounding it to create the handrails of the car. Mr. Goldstein has also done the lighting for the show making use of multiple lobster scope effects to create the sense of movement."
-Andrew C. McGibbon, The AndyGram.com
"it is nice to note that David S. Goldstein's design in both areas reflects real thought and effort."
- jktheatrescene.blogspot.com
"Of special note are the creative use of the single subway car set and the blocking. Making the pieces movable, having characters move away from each other with justifiable motivations and allowing confessional songs to take artistic license in dreamier reconfigurations, there’s surprising visual variety."
-Rob Lester, NiteLifeExhange
"Its punch owes much to the contemporary urban patois and subway mounting (scenic and lighting design by David S. Goldstein)"
-Elyse Sommer, Curtain Up.com
MISS K!M. 45th Street Theatre. Midtown, NYC. Jan 2012.
“the cast members go about their assignments while constantly rearranging tufted white hammocks that are part of the efficient set provided by David S. Goldstein.”
-David Finkle, Theatremania
“David S. Goldstein also did a wonderful job of projecting real-life images on a large screen to bring reality to the scenes.”
-Christina Mancuso, Broadway World
PLAYGROUND. A Street Rock Musical. 11:11 Experiment, Hollywood, CA. Nov-Dec 2011.
“Several frighteningly real sequences replicate what characters must be seeing and feeling while tweaking, and these are aided and abetted by David S. Goldstein’s striking lighting design. Goldstein has designed a simply sensational set, in addition to his extremely varied design.”
-Steven Stanley, StageSceneLA
“High marks to designer David S. Goldstein on a remarkable, highly functional set, and his ambitious lighting design.”
-LA Spash Magazine
BARE. A Pop Opera. The Mission Theatre, Windsor, ON. August, 2011.
“With raves, dream sequences, and drug-induced hallucinations, the lighting, sets, and stage usage make for
an extremely visually appealing show, all plot content aside.”
-Lauren Hedges, Windsor.ca
GATED. Midtown International Theatre Festival, July 2011.
“David S. Goldstein's movable panels of broker signs are effective in keeping the playlets apart."
- Robert Windeler, Backstage
BOOMERMANIA! El Portal Forum Theatre. Opened Feb 11th, 2011
“David S Goldstein does double duty with the flashy and attractive set, plus dazzling lighting design.”
-George Oakley, culturemob.com
"The moody lighting of David S. Goldstein is eye poppingly creative"
-Pat Taylor, Tolucan Times
ELEVATOR. Hudson Guild Theatre, Hudson Mainstage Theatre, and MACHA Theatres. June 2010-April 2011.
“David Goldstein, who also designed the great lighting, contributes a truly remarkable set that sets a high standard for sub-99 seat theater.”
F. Kathleen Foley, LA Times
“ingenious and metaphoric set (designed by David Goldstein). The set appears deceptively basic upon first glance, wooden panels outlining the structure of an elevator box with a couple of interior lights, hanging chains and a black and white checkered floor. However, as the cast begins their trapped tenure, anxious and terrified, this box is quickly transformed into a prison with the chains, dark wood and dark walls shackling them inside the elevator and, symbolically, inside themselves. During the lighter moments of solidarity and bonding...all of a sudden the elevator is overwhelmingly spacious. The frame of the box itself is small; however, the large gaps in the walls and ceiling reveal the intrinsic open nature of the elevator that was masked by lighting and the characters’ own insecurities. As the characters open up to one another, remarkably the elevator expands before your eyes.”
-Greta Mcanany, LA Stage Blog
“a set superbly designed by David Goldstein”
-Cynthia Citron, SD Jewish World
“David Goldstein's set and lighting and John Toom's tech direction are spot on perfection.”
-Don Grigware, Broadway World
“Though a simple set, Elevator is perfectly designed with precise lighting, sound, and special effects. It even offers the slow motion and speed motion theatrics that very few directors ever attempt as this can be so very difficult to perfect."
-Randall Gray. Associated Content
“amazing effects that bring a cinematic feel to the small stage”
-Tony Frankel – Stage and Cinema
F. Kathleen Foley, LA Times
“ingenious and metaphoric set (designed by David Goldstein). The set appears deceptively basic upon first glance, wooden panels outlining the structure of an elevator box with a couple of interior lights, hanging chains and a black and white checkered floor. However, as the cast begins their trapped tenure, anxious and terrified, this box is quickly transformed into a prison with the chains, dark wood and dark walls shackling them inside the elevator and, symbolically, inside themselves. During the lighter moments of solidarity and bonding...all of a sudden the elevator is overwhelmingly spacious. The frame of the box itself is small; however, the large gaps in the walls and ceiling reveal the intrinsic open nature of the elevator that was masked by lighting and the characters’ own insecurities. As the characters open up to one another, remarkably the elevator expands before your eyes.”
-Greta Mcanany, LA Stage Blog
“a set superbly designed by David Goldstein”
-Cynthia Citron, SD Jewish World
“David Goldstein's set and lighting and John Toom's tech direction are spot on perfection.”
-Don Grigware, Broadway World
“Though a simple set, Elevator is perfectly designed with precise lighting, sound, and special effects. It even offers the slow motion and speed motion theatrics that very few directors ever attempt as this can be so very difficult to perfect."
-Randall Gray. Associated Content
“amazing effects that bring a cinematic feel to the small stage”
-Tony Frankel – Stage and Cinema
ITS TOP SECRET. Noho Arts Center. June-July 2010
“the songs and cast’s vocal talents were a treat, as were the costumes of Rachel Stivers and set design by David Goldstein”
-Pat Taylor, Tolucan Times
“David Goldstein's set and lighting and Rachel Stivers' costumes lend the enterprise sheen”
-Les Spindle, Backstage
“The set by David Goldstein worked very well, and the revolving library, with the Nazi radio set up on the other side, was terrific.”
-Robert Machray, BC Culture.
“David Goldstein provided the set (assisted by Tim Miller) and lighting design. The set was a simple living room with lots of doors and stairs, which worked well for the comedy. The lights also worked well to establish the mood, with some interesting gobos used (especially at intermission).”
-Daniel Faigin
-Pat Taylor, Tolucan Times
“David Goldstein's set and lighting and Rachel Stivers' costumes lend the enterprise sheen”
-Les Spindle, Backstage
“The set by David Goldstein worked very well, and the revolving library, with the Nazi radio set up on the other side, was terrific.”
-Robert Machray, BC Culture.
“David Goldstein provided the set (assisted by Tim Miller) and lighting design. The set was a simple living room with lots of doors and stairs, which worked well for the comedy. The lights also worked well to establish the mood, with some interesting gobos used (especially at intermission).”
-Daniel Faigin
DUPE. Two Roads Theatre. June-Aug 2008.
"Designer David Goldstein’s artfully composed set is a major plus."
-LA Weekly
