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A Little Night Music

"To create the stunning blue base of her sky, Winward brought the cyan cells to nearly full and then began dialing in magenta to achieve the blue tones she desired. Building on this base layer, she started mixing in yellow and magenta hues to create a gorgeous, never-setting-sun effect on the scrim. As the plot progressed, so did the color of the sky. With Winward’s expert color mixing, the lighting design simulated the ebbs and flows of a summer sunset during a weekend in the Swedish countryside."

- Caroline Connell, Rosco

Fully Committed 

"Lights by Jessica Winward and sound by Cory Wheat did justice to the never-sit-still Boate throughout."

- Telly Halkias, Brattleboro Reformer

"The outstanding set has been designed by Richard Howe; Jennfer Marcoux has found the right clothing for Sam, and Jessica Winward has lit the show most appropriately. Cory Wheat has provided ideal sound effects for the play. Stage Manager Kristine Schlachter has a busy show to call, and she handles it all extremely well. I think I have to stop with production number eleven. I doubt that any production can be better than this one with wonderful design, excellent direction and, I’ll say it again, an ideal actress in the 40-plus roles Boate plays. Don’t miss this one."

- J. Peter Bergman, The Berkshire Edge

Edward II 

"Church's sound design and Jessica Winward's lighting are also effective in creating a violent and unsparing world of betrayals and heartbreak."

- Joe Siegel, Edge Media Network

"Church uses the in-the-round space wisely, with a number of blackouts, entrances and exits aided by Jessica Winward’s effective lighting, Andrew Iacovelli’s set design and Abigail Dufresne’s dark costumes."

- Don Fowler, Warwick Beacon

Hand to God

"The sound design (by Jeff Church) and Jessica Winward's lighting are effective, as is Baron Pugh's set design."

- Joe Siegel, Edge Media Network

"Jessica Winward's lighting design is equally perfect, creating moments and scenes that happen elsewhere, transporting the actors and audience skillfully to those other locations. There are also some very fun moments of possession filling the stage with demonic lighting effects."

- Robert Barossi, Broadway World

Polaroid Stories

"Antonio Forte's sound design, from traffic noises to a heartbeat that coveys terror, and Jessica Winward's chiaroscuro lighting, add to the environment."

- Kathie Raleigh, Pawtucket Times


"Marvelous lighting by Jessica Winward and splendid sound by Terry Shea are especially affective in the thunderstorm in Act II."

- Tony Annicone, Theatre Mirror

Shakespeare in Love

"The costumes, sets, lighting, and sound design, are also first-rate."

- Joe Siegel, Edge Media Network

"With each production, Burbage seems to up its technical game, and this show is no different. The costumes — designed by Church, Jessica Winward and Morgan Clark, and coordinated by Clark — are worthy of their own ovation. Winward also does a spectacular job with the lighting. The challenge with a play like this is that it still harkens back to a film’s way of presenting a story, which involves short scenes that travel around a room and back-and-forth between locations. Winward’s lighting design helps direct your attention where it needs to go, and between the design and director, the show flows seamlessly from scene to scene."

- Kevin Broccoli, Motif Magazine

Twelfth Night 

"The lighting effects are by Jessica Winward and are incredible including disco lighting and lightning effects for the shipwreck."

- Tony Annicone, Theatre Mirror

"The production also had some pretty impressive lighting effects--disco and lightning."

- Larry O'Brien, Broadway World

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