Winner of Rave Theatre Festival’s “Outstanding Design” award.

The Wake - Premiere Stages, 2019

“And, if you ever wondered what sound and lighting designers contribute to a production, well, Emily Auciello and Greg Solomon, respectively, give a master class in the craft as the light changes to yellowish-gray, the rain pelts the roof and the wind howls outside.” (NJ Arts Maven)

"The Creative team has done a top job of bringing The Wake to the Union stage. They include scenic design by Bethanie Wampol Watson; costume design by Karen Lee Hart; lighting design by Greg Solomon; sound design by Emily Auciello." (BroadwayWorld)

“Special props go out to Bethanie Wampol Watson for a beautiful set; Greg Solomon for lighting and Emily Auciello for sound - which both play a very active role. The weather and the hurricane are both done extremely well.” (New Jersey Stage)

"Lighting by Greg Solomon and Sound by Emily Auciello convey a real sense of a serious hurricane." (TAPinto Warren)

Brick City - Premiere Stages, 2018

"Set designer Bethanie Wampol Watson, aided by the picture-perfect lighting of Greg Solomon and Matthew Fischer’s sound design, creates a down-at-the-heels classroom of such realism that you almost forget you’re in a theatre and not in a Newark high school." (Out In Jersey)

“Solid production values provide Brick City with a time and place that, while specifically Newark (“Brick City” is its nickname), could just as easily be any inner city; of course, the specific New Jersey references really reinforce the setting. Greg Solomon’s lighting is appropriately garish for a school classroom and murkily dark for the parking lot scenes.” (NJ Arts Maven)

"The Creative Team has done a great job of bringing Brick City to the stage with scenic design by Bethanie Wampol Watson; costume design by Izzy Fields; lighting design by Greg Solomon; and sound design by Matthew Fischer." (BroadwayWorld)

A Persistent Memory - The Beckett @ Theatre Row, 2016

"What brings the whole piece together is a beautifully intricate lighting and sound design by Greg Solomon and Miles Polaski (respectively), capturing Uganda and Greenwich, CT all in one as the storm of David's conflicted emotions and memories finally breaks." (

"Lighting Designer Greg Solomon contributes immensely to the piece, utilizing shadow and color." (Woman Around Town)

"The set from Parris Bradley with lighting designer Greg Solomon highlighting what evoked an elephant graveyard was stunning to look at.  How Bradley and Solomon worked off of one another was breathtaking." (Theater in the Now)

Mad Love - NOrthern Stage, 2016

"Northern Stage’s physical production was particularly imaginative and effective. David L. Arsenault’s combining multiple rooms worked well...thanks in part to creative lighting by Greg Solomon." (Times Argus)

"Lighting Designer Greg Solomon skillfully isolates scenes" (The Chester Telegraph)

"Greg Solomon’s lighting design brings depth to the stage and reveals layers of the set." (Valley News)

I'll Be Back Before Midnight - cortland repertory theatre, 2013

"..sound designer Seth Asa Sengal, lighting designer Greg Solomon and stage combat choreographer Nancy Kane—deserve extra credit for wringing out so many effective scare chords in just the first act (three escalating scenes) alone.  The technical credits are excellent throughout: when the lights come up on a darkened living room and the sound and headlights of a car play across the shadowy walls, the effect is so right and well-executed that we know immediately that we are in excellent hands." (Ithaca Times)

“Scenic designer Cully Long and lighting designer Greg Solomon know how to use the room.” (Syracuse New Times)

Fiddler On The Roof - Little Theatre on the Square, 2013

“The lighting, by Greg Solomon, is particularly effective at setting a series of poignant twilight moods, this being not the sunrise but the sunset of these Jews’ sojourn in Russia.” (Odin's Ravens)

Les Miserables - Little Theatre on the Square, 2013

“Sometimes the lighting and effects in a production take a backseat to the main performances, but in The Little Theatre on the Square’s “Les Miserables,” it is front and center.  Filling the stage with luscious shades of red and blue throughout the performance, all of the colored lights subtly accentuated the production.  The blue hues helped point out the deceased during the show, while the red highlighted the actual deaths and the ravages of the rebellion.   Lights also play an important role, along with manufactured smoke, which entered the stage at vital moments.  One of the most impressive pieces during the performance was the use of flashing lights, a smoke screen and every actor moving in slow motion at the climax of the rebellion.” (The Daily Eastern News)

“The lighting design by Greg Solomon gives its full support to colorful romanticism, with moody backlighting, harsh foreground lighting, an effective follow spot and the smoke-filtered flash of battle.” (Odin's Ravens)

Mary and Edith - Berkshire Theatre Group, 2013

“Greg Solomon’s lighting gave pleasure to the experience.” (EDGE Boston)

After The Fall - The Chain Theater, 2013

"The set is minimalist, with images projected as backgrounds during key moments in the narrative and effective lighting effects by lighting designer Greg Solomon." (Daily Actor)

The Woman Standing On The Moon - Urban Stages, 2011

“Christopher Thompson's sturdy well as a receptacle for Greg Solomon's mood-setting lighting” (Backstage)

PANIC! - Spirit of Broadway Theater, 2011

“The costumes by Ruth Tefft are on-point, as is Greg Solomon's lighting design” (Broadway World)

The Actors Rehearse the Story of Charlotte Salomon - Shakespeare and Company, 2009

Named one of the most noteworthy designers of 2009 by the Berkshire Eagle

“The lighting by Greg Solomon and the open space set by Kiki Smith add to the theatrical magic of a solo performance embodying many folks.” (Berkshire Bright Focus)

The Dreamer Examines His Pillow - Shakespeare and Company, 2009

“On the very open stage of the Bernstein Theatre, set designer Christian Schmitt and lighting designer Greg Solomon have created a new version of a simplicity that defines complexity.” (Berkshire Bright Focus)

“Lena Sands’ costumes and Greg Solomon’s lighting design are strong and suitable to the work” (

Pinter's Mirror - Shakespeare and Company, 2009

“A special shoutout to Kiki Smith for the spot-on outfits for each play and Greg Solomon for supporting the shift in mood with his evocative lighting.” (

“Luckily Greg Solomon’s lighting design is on the mark, as are Megan Moriarty’s costumes, and they add what little color there is to the piece.” (

“Add to that some yard sale furniture, props, and thrift shop costumes, one each for the actors in the three plays designed by Megan Moriarty. Also the nicely nuanced lighting by Greg Solomon and there you have it.” (Maverick Arts Magazine)

“Much is achieved with lighting effects by Greg Solomon, who makes a great deal out of window gobos and area lighting.” (Berkshire Bright Focus)

Golda's Balcony - Shakespeare and Company, 2009

“A set by Kiki Smith brings an essence of Jerusalem's Wailing Wall into the picture. Govane Lohbauer's simple costume and perfect shoes do most of the creating of the character's physical presence. Greg Solomon's lighting keeps the present and the past under strict control and when the play gets into the revelatory moment about the play's title, there is an unusual chilly heat about the setting.“ (Berkshire Bright Focus)

Romeo and Juliet - Shakespeare and Company, 2009

“Greg Solomon creates some very pretty pictures with his moody lighting.” (Berkshire Bright Focus)