Press

Fences – Fleetwood Stage
The Journal News - Jacques Le Sourd
Littleway’s direction is helped by Joseph J. Egan’s set design, Anita Ellis’s costumes and Peter Petrino’s lighting, all of which have reached a level of sophistication of which this theater can be proud.

A Midsummer Night’s Dream - Fleetwood Stage
The Journal News – Jacques Le Sourd
There is a minimum of scenery but the gorgeous view of the Long Island sound goes a long way to providing atmosphere, together with Peter Petrino’s good lighting.

The Steward of Christendom – Bluestone Actor’s Project
Weekend – Edward Buroughs
Peter Petrino’s lighting scheme is as complex as ever been attempted at the Schoolhouse and is critical to the play’s integrity.

Paride ed Elena – Caramoor Center for Music and Art
Opera News – Judith Malafronte
Staging, even semi-staging, can be tricky on the Venetian Theater’s wide and pitless stage. Dan Puissegur’s design, which placed the orchestra off to one side, left a large playing area defined by two gauzy hangings with just enough scenic suggestion to define various palace locales. Both Peter Petrino’s lighting and Claudia Zahn’s stage direction clarified the action, placing focus on the power and beauty of the score.

Lucrezia Borgia – Caramoor Center for Music & Art
Opera News – John W. Freeman
They were helped along by the suggestive semistaging of Nicholas Deutsch, eclectic costuming of Fabio Toblini and carefully understated lighting of Peter F. Petrino, who saved his striking effects for last.

Dare Not Speak it’s Name – Seven Angels Theater
News-Times – Chesley Plemmons
Designer Doug Lightbody’s Multi level platforms serve effectively as a variety of settings, and Peter Petrino uses fluid lighting to good purpose.

The Lady from the Sea – Century Center for Performing Arts
Off-Off Broadway.com – Doug Devita
Tim Goodmanson’s set, Peter Petrino’s lighting, and Sydney Maresca’s costumes were all exquisite.  Looking like a Maxfield Parrish painting, the production’s dreamlike design, along with Jon Littig’s superb sound design, added to the contrasting moods of both Ibsen’s play and Christie’s interpretation of it.

T Bone and Weasel - Theater Works New Milford
News-Times – Chessley Plemmons
Matters are helped enormously by Bill Hughes’ clever set, effectively lit by Peter F. Petrino.

 

Ravenscroft - Sherman Playhouse
News-Times – Chessley Plemmons
The action takes place in the Ravenscroft library, which has been devised by Beard and Jim West as an only half suggested set, heavy with shadows. The performers, who move in and out of the light as they join Ruffing for interrogation, are bathed in Peter Petrino’s sinister lighting plan.

Road to Mecca - Sherman Playhouse
News-Times – Chessley Plemmons
Director Daley designed the set, which catches the invasive element of disorder in Helen’s life as well as the whimsy and Peter Petrino has bathed the action in slowly lengthening shadows.

Unexpected Man – Penguin Rep.
Times Herald-Record – Cynthia O. Topps
The clever lighting design by Peter F. Petrino and the simple yet elegant set design by Sarah Lambert provide a polished frame.

The Adjustment – Penguin Rep.
The Journal News – Edward Buroughs
The set is simplicity itself: a treatment bed and a cart are it’s only props. But Scott Aronow’s geometric panels and Peter F. Petrino’s ever shifting lighting provide just the right atmosphere for characters driven more by inner forces than physical space.

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