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-New York - Limon Dance Company
“Something surprising happened at the Joyce Theatre…men and women moved through glowing lights…a suggestion more of shadows than sunlight…Steve Woods was the Lighting Designer” New York Times -Dallas- Undermain Theatre- St. Nicholas
Not only are Robert Winn’s sets simple and subtle, but Steve Woods’s lighting adds greatly to the play’s spooky atmosphere, while Paul Semrad’s sound design is as good as anything I’ve ever heard on Broadway. Wall Street Journal -New York - Limon Dance Company
“10 dancers at the Joyce moved through shifting pools of dramatic light designed by Steve Woods for " Fantomes" by Phylis Lamhut The Village Voice -Amsterdam-Blind lemon Blues
"Wonderful lighting by Steve Woods" De Telegraaf -New York - Shakespeare Festival of New Jersey - Ghosts
“Steve Woods lighting…dapples the events in darkening shades of blue waiting for sunlight” New York Times -Washington DC - The Shakespeare Theatre - Romeo & Juliet
…”the sets by Anita Steward and lighting by Steve Woods create a stunning, otherworldly Verona in which the walls are grey, the streets lead to gaping blackness and the occasional burst of primary color in scenery and costumes is like a desperate spurt of life” “There were some magnificent images-a street brawl projected in shadows…visually this is one of the most hypnotic Shakespearean productions I have ever seen” Washington Post -New York - The York Theatre - Blind Lemon Blues
“by show’s end, you feel a spiritual kinship with both Jefferson and the legions of artists and his soulful styling… Steve Woods’s lights movingly evoke the long road so many African-American musicians have had to travel” Talking’ Broadway -Dallas - The Dallas Theater Center -In The Beginning
“The area in which "In The Beginning" most often takes flight is in the lighting design of Steve Woods. It's flashy when it needs to be; but even at its most subtle it is always alert, always shifting, gently guiding our focus and illuminating shadows from unexpected directions. In a sense the light becomes the real presence of God, rather than the various actors grappling with the inconsistencies of the Lord as he/she is involved in the stories. It is as the light – always present, always loving, sneaking up on us when we least expect it – that the Infinite can be most fully grasped” Pegasus News -Alberta , Canada - Limon Dance Company
“One of American’s premier contemporary dance companies preformed last night…the beautiful lighting design was by Steve Woods… "Indeterminate Figure" performed by Carlos Orta-a story of death and resurrection was stunningly designed by Steve Woods” The Gazette -Dallas - Kitchen Dog Theatre - Some Explicit Polaroids
“Steve Woods’ lighting design is perfect….positioning them just right to achieve the look of a small loft and a stale, cold hospital. He uses small dashes of color to let the audience feel that the world these people live in is cold, colorless, plain, and dull” Regional News and Reviews -Dallas - Fort Worth/Dallas Ballet - Romeo & Juliet
"Steve Woods’ unexpected lighting…adding to the richness…the lighting provided an uncanny mood” Dallas Morning News -Dallas - Undermain Theatre - The Black Monk
..."is directed with a sense of dream-like honesty by Katherine Owens, using the Undermain's unusual space to full advantage, and the lighting by Steve Woods seems downright hallucinatory" WFAA-TV 
Jose Limon Dance Company - The Traitor
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Ohio Theatre - Neil Young's Greendale
Mexico City – Compania Nacional de Danza - Eugene Onegin
…"stunning lighting design by Steve Woods Reforma -London - Limon Dance Company
“The dancing is joyous, a pliant Kristen Foote and the intense Franciso Ruvalcaba outstanding against a simple background of mood-setting light projections by Steve Woods.” Financial Times-UK -New York - Theatre for a New Audience
Barry Kyle directs Henry V with Mark Rylance in the title role. The production receives a Lucille Lortel Award for Outstanding Revival, and Clive Barnes names it one of the Ten Best Off-Broadway Productions of the Year. Scenery and Costumes by Marina Draghici and Lighting by Steve Woods New York Post -New York - Joyce Theatre - Limon Dance Company
“Expression in just a few bold strokes…Steve Woods lighting in "There Is a Time"was especially felt in Limon’s ode to life….” New York Times -New York - The York Theatre - Blind Lemon Blues
“One sensational guitarist, two powerhouse bluesmen, four savvy backup singers are enough to make any blues lover go weak at the knees…excellent lighting by Steve Wood Variety -Nashville, Tennessee - Knoxville Opera Company - Rachel
"The World Premiere of "Rachel"…the production nicely conceived…superlative lighting by Steve Woods. Opera News Magazine -New York - Limon Dance Company
“Psalm” was choreographed in 1967 by Jose Limon…its inspiration was Andre Schwartz-Bart’s 1959 novel “The Last of the Just”…pain was palpable in the grays of the simple costumes and Steve Woods’s subtle lighting." New York Times -Dallas - Undermain Theater - Port Twilight or The History of Science
"The Lighting Design by Steve Woods creates just the right mood to transport us to the more fanciful side of The Twilight Zone. "Port Twilight" by Len Jenkin seems to exist on the cusp of darkness, stuck in transitional time between day and night. Pegasus News -Baton Rouge - Swine Palace Productions - Macbeth
...“designers Draghici and Woods are full and able collaborators…the designs of Draghici (scenery & costume) and Woods (lighting) for "Macbeth" take us to a different level of experience than we are used to in the theatre. You may find, as I do, that the experience is difficult to shake…” Morning Advocate -Dallas - The Undermain Theatre - Neil Young's Greendale
…”is an overwhelming experience, musically and theatrically…the show begins in an Eden of innocence, the radiant actors basking in lighting designer Steve Woods’ golden glow.” Dallas Morning News -Knoxville, Tennessee - Knoxville Opera - La Boheme
"Steve Woods made the stage more intimate…and visually delightful” Opera News Magazine -Dallas, Texas -Undermain Theatre - Red Chariot
The success of this production is scarcely analyzable into a few compound elements: Excellent actors deliver brilliant lines amidst enthralling sets, costumes, lights, sounds; no single one of these parts would be as great without the others to lift it up. And yet, each element comes together to create a seamless, moving piece that has an effect on its audience long outlasting its two hours onstage. The Observor 
Dallas Theatre Center- In The Beginning
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