Raging Skillet - Wellfleet Harbor Actors Theatre - 2018
"As is to be expected, the production values at WHAT are top-notch. The set by Richard Wadsworth Chambers is all punk rock and functioning commercial kitchen – kudos. The sound (Matt Otto) and lighting (Andrew F. Griffin) really added to the evening."
Carol Panasci - Cape Cod Times
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Crowns - Le Petit Theatre - 2018
"Scenic designer Steve Schepker has created a splendid unit set. In combination with Andrew F. Griffin’s textured lighting design, artful projections by Porscha Danielle and a non-stop parade of glorious costumes by Helen S. Ruiz, the design team creates a majestic backdrop for the action which bursts with as much life as anything you will hear in the Gospel tent at Jazz Fest."
Bruce Burgun - The New Orleans Advocate
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Ella: First Lady of Song - Delaware Theatre Company - 2018
"The story unfolds on Colin McIlvaine’s set, where fragments of period marquees embellished with chasing lights stylishly recreate the atmosphere of clubs and theatres. Elegant projections designed by Nicholas Hussong establish the historical sweep of Ella’s career, and after seeing their effectiveness in the second act, the first act seems visually sparse by comparison. Andrew F. Griffin’s lighting evokes the right flavor of each place and period: some bright and bouncy, others smoky and clubby."
Gail Obenreder - The Broad Street Review
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Antony and Cleopatra - Folger Theatre - 2017
An interview about my work on the show with DC Metro Theatre Arts: Click Here

"As set designer Tony Cisek’s set rotates and Andrew F. Griffin’s lights sparkle, the production manages to conjure one very effective sea battle and several touches of pomp. But it’s mostly idiosyncratic egos and preening emotions that occupy this compact center stage."
Nelson Pressley - The Washington Post
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"The lighting design by Andrew F. Griffin is brilliant, illuminating not only the problems of the lovers and their antagonists, but allowing us to almost feel the passion, the pain, and the temperature rise as things heat up on stage."
Sara Dudley Brown - The Zebra
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"Here, in director Robert Richmond’s cozy circle, creatively lit by Andrew F. Griffin, are a real Antony and Cleopatra. They may deliver grand and beautiful language, they may go to war or die by asp, but they are without question, living, breathing people who smirk, cuddle, and lose their tempers."
Kate Wingfield - Metro Weekly
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"Director Robert Richmond keeps the action flowing with fast-paced staging and a lean and smartly cut script. Tony Cisek’s revolving stage keeps the perspective always shifting and characters’ alliances ever in flux. Andrew Griffin’s lighting effectively creates shapes, textures, locations, and moods. Mariah Hale’s costumes evoke the period but have contemporary flair. Joining this team of frequent collaborators is Adam Stamper, with percussion-heavy original music and sound design (a nice touch – the scenes set in Rome have a subtle echo). Together they create a show that has a unified and distinctly contemporary feel."
John Geoffrion - DC Theatre Scene
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"The Folger’s Antony and Cleopatra is visually sumptuous, with costumes, lights, and movement coming together to provide indulgence for the senses."
Sophia Howes - DC Metro Theatre Arts
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"The battle at sea may be the riskiest staging of the show, but with Andrew F. Griffin's lights and the movement of the actors, it's vivid and clear what happens....the intimate "Antony & Cleopatra" delivers its story that if nothing else is about intimacy."
Roger Catlin - Broadway World
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"But it’s the caffeinated pace of this A and C that leaves your head agreeably spinning: Richmond uses shifts in Andrew F. Griffin’s lighting scheme to signal which side of the Mediterranean we’re on in any given scene, and the actors playing characters on another continent remain on stage with the others. No momentum is lost to blackouts."
Chris Klimek - Washington City Paper
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"In “Antony and Cleopatra,” we are invited to the boudoir of Queen Cleopatra (Shirine Babb), where she shines like a jewel on a pedestal, glittering in costumes by Mariah Hale and surrounded by warm light. The lighting, designed by Andrew Griffin, echoes the language and cadence well: Rome is echoic, cold, austere, full of shadows. Alexandria, by contrast, is warm and inviting, and at the center lives a goddess, highlighted by an inverted pyramid: the Chalice to Mark Antony’s blade"
The Hill is Home
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Timon of Athens - Folger Theatre - 2017
"Sleek and strikingly conceived...Folger’s impressive attempt to unravel Timon’s downward spiral ensnares us all in a play’s eternal mystery."
Peter Marks - The Washington Post
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"Scenic Designer Tony Cisek creates a futuristic household, not dissimilar to a high security prison with all of the digital screening mechanisms laced into the working cogs of its presentation. Cisek, who works in flawless tandem with Lighting Designer Andrew F. Griffin, Sound Designer Matt Otto, and Projection Designer Francesca Talenti, creates this digital landscape. Otto enhances the aesthetic with the whizzing swishes of air-compressed doors, computer technology at work, and other neo-space sounds that appropriately fit the actions on the stage. Rounding out this ingenious design is the work of Griffin and Talenti, whose work overlaps in the way characters are screened when they enter the house of Timon. At other points, Griffin’s work stands solo and creates a great deal of discomfort and foreboding when it comes to shadow play and silhouette usage in the second act."
Amanda Gunther - Theatre Bloom
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"The Timon of Athens staging is of the world of a “right-now” digital social media oligarchs thanks to Tony Cisek’s eye-popping reinvention of the Folger venue. With lighting by Andrew F. Griffin, sound by Matt Otto, projection design by Francesca Talenti, and stunning costumes by Mariah Hale, as a regular Folger theater-goer I was dumbstruck by what has been accomplished."
David Siegel - DC Metro Theatre Arts
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Hetty Feather - Delaware Theatre Company - 2017
"Andrew F. Griffin’s shifting kaleidoscopic lights – ranging from primary colors to dappled patterns – create and smoothly change scenes and moods with alacrity. At times spilling his work out into the audience, the designer creates beautiful patterns and shadows."
Gail Obenreder - The New Journal, DE
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"Lighting designer Andrew F. Griffin used every pastel in the pallet to bathe the stage in a never-ending kaleidoscope, so very much in tune with the circus atmosphere."
Greer Firestone - Broadway World
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The Moors - Yale Repertory Theatre - 2016
"The production, directed by Jackson Gay, has found the soul of this material. Alexander Woodward’s practical set design, in combination with the lighting by Andrew F. Griffin, is a poem unto itself."
David DeWitt - The New York Times
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"The technical expertise at Yale, however, is beyond first-rate. Woodward’s murky moors almost devour the drawing room at one point and the moody lighting by Andrew F. Griffin suggests fear and menace in every corner of the stage."
Tom Holehan - Connecticut Post-Chronicle
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A Midsummer Night's Dream - Synetic Theatre - 2015
"...everything from set to costumes to lights is drenched in the fantastical for Synetic’s latest Shakespeare A Midsummer Night’s Dream....The lights by Andrew Griffin did most of the heavy lifting."
Jessica Vaughn - DC Metro Theatre Arts
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 "Because of the immersive tech I feel like I was brought to another world, which simply does not happen often."
Hannah Menchoff - Broadway World
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Midsummer - Yale Summer Cabaret - 2015
"Andrew F. Griffin’s lighting design is a poem in itself."
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"Forget a fourth wall; with a dedicated company behind them, the two artistic directors have forged a universe that is more like a fourth dimension. This is owing, in no small part, to Chris Thompson and Claire Deliso’s scenic design and an audiovisual tour de force by Andrew Griffin and Sinan Zafar."
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The Medium - Yale Cabaret - 2015
The solo instrument and the singers’ voices create a fascinating interplay throughout the evening, often manifesting a somber effect greatly aided by Andrew Griffin’s lighting design—which recreates period illumination—coupled with Frausto’s heavy drapes and distressed plaster, while Hayden Zelideth’s costumes, particularly the gypsy-like get-up Flora hangs out in and the gown she wears for séances, add to the overall illusion of genteel Bohemia.

The Master and Margarita - Yale School of Drama - 2014
“The Master and Margarita displays the finesse of its large cast and perhaps even more so the technical talent brought to bear on this lively phantasmagoria: Fabian Fidel Aguilar’s splendid costumes, Andrew F. Griffin’s artful lighting, Sinan Zafar’s effective score and work in sound, the projections by Rasean Davonte Johnson that transform the backdrop into various illustrative settings—Yalta complete with flying geese, or glimpses of Objectivist art become illustrative—and Christopher Thompson’s scenic design creates distinct spaces with both vertical and horizontal interest…In a word, amazing.”

He Left Quietly - Toronto SummerWorks - 2014
Winner of Outstanding Production

“The storytelling in this production is out of this world — biting, shocking and uncomfortable in the best possible ways. The lighting by Andrew Griffin, projections by Michael F Bergmann, and sounds by Kate Marvin further deliver the experience exceptionally. Hats off to the production team lead by director Leora Morris for a fine job.”

“The director Leora Morris and the entire production team also did an outstanding job...The lighting...was able to create an intense feeling of enclosure when necessary, and conversely at times even a hopeful brightness.”

We are proud to present - Yale Summer Cabaret - 2014

“And, as has been the case all summer, the tech team delivers—special mention for Andrew F. Griffin’s Lighting (this is really one where you don’t even notice how much work it takes to make it all seem “natural”)"

Avenue Q - Olney Theatre Center - 2014
“Andrew F. Griffin is responsible for the clever lighting"

“Before I discuss the performances by the young, attractive cast, I feel compelled to single out the extraordinary work of Lighting Designer Andrew Griffin.  His use of a full range of hues, spotlighting, and shifting the lighting around the stage to augment scene changes provides a dimension that adds even more vibrancy to a most vibrant production.”

“Lighting Designer Andrew Griffin really brightens up the dismal days on Avenue Q with his intense and frequent use of colors. Creating a visual cacophony of homosexual pride blinking through the windows during “If You Were Gay,” Griffin adds jolts of pizzazz to this hysterical number. Many of the musical numbers feature Griffin’s enthusiastic touch— including the pink light bath the floods the stage during “The More You Ruv Someone.” Lewd lighting is the perfect touch in shades of tawdry purple and sinful scarlet, blinking in opposition, during “You Can Be as Loud as the Hell You Want (When You’re Making Love)” and Griffin even finds a way to incorporate a disco ball or three into the production at a few different moments.”

A Chorus Line - Olney Theatre Center - 2013
Helen Hayes Award - Outstanding Production - Musical

“Lighting by Andrew F. Griffin transitions from quietly somber, to half-lit for emotional reflections, to spooky for the nightmarish sequences of turmoil and interior distress, to mega-watt high voltage for the final scene that will not disappoint.  The high voltage lighting on the moving panels designed by scenic designer James Dardenne is breathtaking.”

"Andrew F. Griffin's lighting adds much-needed subtlety to what might in other hands have been a more predictable backstage soap opera.”

“Andrew F. Griffin’s finely judged lighting adds considerable visual spark to the production"

Twelfth Night - Folger Theatre - 2013
“Cisek’s set meets well with Mariah Hale’s colorful costume design, Andrew F. Griffin’s transformative lighting, and some immersive sound design by Matthew M. Nielson. In full, the show’s a beauty to behold.”

"...superb lighting by Andrew F. Griffin.”

"Andrew F. Griffin's lighting design adds clarity to the story-telling and thoroughly enhances Cisek's set design."

“Scenic designer Tony Cisek, costume designer Mariah Hale, lighting designer Andrew F. Griffin, and sound designer Matthew M. Nielson combine their considerable skills and fertile imaginations to conjure a world only a theatre could contain.”

Henry V - Folger Theatre - 2013
Helen Hayes Award - Outstanding Lighting Design

“The action is clear and kinetic, and fight choreographer Casey Kaleba teams well with sound designer Michael Rasbury and lighting designer Andrew F. Griffin for some truly explosive battle sequences”

"...Griffin’s use of shadow and lights was exquisite.”

Jekyll and Hyde - Synetic Theatre - 2011
"Andrew Griffin’s lighting is sublime, and make a key contribution to setting the show’s overarching eerie tone amidst the lighter more festive scenes. At times, haunting shadows dance on the walls amidst chaos while at other times stunning spotlights are used to great dramatic effect."