"The show is remarkably well designed ... Kate McGee’s lighting draws on a whole palette of luminosity, from the lone ghost light standing sentry to the dazzling whiteness that emanates, for a few startling moments, from beneath the stage. Long shadows abound, and so does a kineticism that combines superbly with the sound design (by M. Florian Staab, based on Mr. Gelb’s design) to transport the action from one milieu to the next. The final, clever image is one of light and moving shadow — technically simple, indelibly dramatic." - Laura Collins Hughes, the New York Times
"And setting Yank’s death scene to one side at the rear of the stage (with painterly lighting amid darkness, by Aron Deyo and [Kate] McGee) makes for a poignant and artful anticlimax." - Ben Brantley, The New York Times
"In this bubble-blowing, confetti-throwing show, the lighting (by Kate McGee) keeps things gorgeous, with a breeze softly riffling the set’s tinsel-curtain backdrop." - Laura Collins Hughes, The New York Times
"Carolyn Mraz’s set of many movable parts is lighted with homey magic by Kate McGee (love the descending grape-cluster bulbs)." - Ben Brantley, The New York Times
"The lighting is like a Gordon Craig dreamscape, with fog and shadow as the dominant "colors" - the same elements that Gregg Toland emphasized in his chiaroscuro cinematography for John Ford's "The Long Voyage Home" (1940), which was also based on the "S.S. Glencairn" plays. (The lighting designers are Aaron Deyo and [Kate] McGee and their work is essential.)" - Hilton Als
But each is stunningly costumed by Mac’s longtime collaborator Machine Dazzle, who designed the set as well. Wearing a toadstool headdress and a skirt embellished with Medusas, El Beh has one of the most striking looks — though the orange ram’s horns on Trebien Pollard are quite something, too. The bold, bright makeup is by Anastasia Durasova. Also essential to the moods of festivity and mourning: Chanon Judson’s choreography and Kate McGee’s lighting. - Laura Collins Hughes, The New York Times
"Justin Townsend’s brilliantly simple set echoes Francesca’s forgetfulness. She can only remember things if she has to imagine them, and the set puts us in her shoes, forcing us to imagine everything. [Kate] McGee’s lighting design counteracts the simplicity of the set by establishing a clear atmosphere for each new scene, from the dreamily dim dance sequences to the flickering overheads of the supermarket." - Theater is Easy