“Parra, Braden and Brancato aren't the only heroes at George Street. Jeff Nellis' lighting starts out warm, and becomes progressively hotter, making its own little red light district when Smith tells the more ribald of her stories. And yet, when Smith recounts the most harrowing moment of her life, Nellis wisely drains the stage of color and puts her in a white light, as stark as the one found in a police station's holding room.”

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The Milliner

“Todd Edward Ivins, the set designer, makes the play visually alluring, creating a sort of rainbow of hats across the back of the stage. Caralyn Kozlowski is lovely as a cabaret singer who serves the role of siren, beckoning Wolfgang back to Berlin with her songs. Jeff Nellis lights her scenes beautifully.”

Reviewed November 4, 2006

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“Best of all, perhaps, are the hats by Lynne Mackey.  There are about 20 of them - different types, but all eye-catching - ranged about the stage on hat blocks, plus more that come out of sample cases.  At one point, Clement, Ivins, Nellis, and Mackey combine to create a stunning stage picture, with the colorful hats - on the furniture, sitting downstage on the apron and suspended high above the stage behind the scrim - individually lit.”

“Ms. Redgrave, directed by Joseph Hardy, gets some help in telling her story from Tobin Ost’s abstract design, a set of panels resembling a folding screen, and the exquisite lighting of Rui Rita and Jeff Nellis, who move us easily from a dappled church interior to a dimly lighted bedroom to a country barnyard.”

“As the houselights dim, a hissing is heard from the Neuhaus Stage. You're not sure whether it's coming from the gaslights as they sputter to life high above the stage or the steam emerging from a grate in the cobblestone pavement. David Korins' moody set also features an imposing back wall of blackened brick. All cast in Jeff Nellis' shadowy lighting, it makes an ideal playing space for Karoline Leach's recent off-Broadway success, a cat-and-mouse tale set in 1910 London.”

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“Sets and costume are spare -- the show is performed in a bleachered studio -- with an especially impressive bit of lighting-by-firelight in the fourth act by Jeff Nellis.”

“Beyond the looming light and shadow plays of Jeff Nellis’ exquisite lighting, "Orson’s Shadow" contains a revelatory inner-outer scene that I believe cuts to the quick of Austin Pendleton’s biting drama…”

“Cromer’s fierce yet tender chiaroscuro staging, which left an indelible impression on me in the concrete Steppenwolf Garage, feels even more intimate and foreboding in the graciously worn interior of the CCPA. Set designer Takeshi Kata’s tilted black-brick wall, within which one can discern remnants of the Olivier’s Notley Abbey, frames a vintage stage upon which the characters’ real and imagined performances collide. Nellis’ symbolic illumination – particularly Welles lit in his signature filmic shadows and Olivier in blinding spotlights – seems to carve out these figures’ damaged and delusional destinies.”

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“There are three brightly colored sets of doors for the  three Ephesus locales of Antipholus’ house down right, the “Pleasure Palace” (with a sweet use of pink) down left, and the abbey up center. Jeff Nellis’ lighting design makes the cast and set pop; this is as much a feast for the eyes as it is for the ears”

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“As Enjolras, the head of the student brigade hoping to stage a petit revolution, Jeffrey Coon delivers a fiery performance that's matched by some of lighting designer Jeff Nellis' showiest work.”

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Link to review


The New York Times


Reviewed June 10, 2007

Link to review


The Devil’s Music

New Jersey Star Ledger

Reviewed March 9, 2009


John Ferguson

Reviewed October 1, 2006

The Milliner

Reviewed November 2, 2006

Houston Chronicle


Reviewed November, 2006


Orson’s Shadow

Reviewed 2002

Metroland Online

Bomb-itty of Errors

Reviewed July, 2006


Les Misérables

Reviewed May 22, 2008

...Clement's version focuses more on the story and journey of the characters rather than the dazzle and spectacle that wowed Broadway more than 20 years ago. That's not to say Todd Ivins' set isn't impressive, because it is- from the dingy streets of Paris to the barricade, Ivins manages to create an impressive and detailed world that so many already know. Colleen Grady's costumes and Jeff Nellis' lighting also deserves noteworthy mention as both are remarkable.”

Stage Magazine Online

Les Misérables

Reviewed May 25, 2008

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