Winner 2022 Broadway World Regional Awards (San Francisco) for Transcendence Theatre’s “Hooray for Hollywood”, Best Lighting Design.
Nominated for a 2019 Broadway World Regional Award (San Francisco) for Lighting on Transcendence Theatre’s production of “A Chorus Line”.
Nominated for a 2018 New York Innovative Theater Award for Lighting on Sea Dog Theater’s production of “Danny and the Deep Blue Sea”.
Nominated for a 2014 Audelco ‘VIV’ Award for Classical Theatre of Harlem’s “Romeo ‘n Juliet”.
THE BEAT GOES ON
Lighting Designer Paul Hudson once again creates a visually stunning stage to showcase the performers while not drowning out the natural architecture of the land.
-Christina Mancuso, Broadway World / San Francisco
LIFE X3
And Paul Hudson’s lighting gives fortitude to those who inquire into the flatness of the halos of spiral and elliptical galaxies.
-Ed Malin, Theater is Easy (theasy.com)
LEAVING THE BLUES
Beautiful lighting by Paul Hudson dramatically spotlights the staged segments of singing and dancing…
-Deb Miller, DCMetro, Theater Arts
A CHORUS LINE
Lighting Designer Paul Hudson creates a visually stunning masterpiece as the setting sun moves through time right in sync with the narrative.
-Christina Mancuso, Broadwayworldonline.com
LONELY PLANET
Jonathan Silverstein’s staging is simple with room for laughs. Anshuman Bhatia’s set brings forth an array of lives lost by the assortment of chairs, but it is Paul Hudson’s lighting that is a chilling reminder of time passing.
-Suzanna Bowling, Times Square Chronicles (t2conline.com)
…Bhatia’s set is, especially as lit with such variety and detail by Paul Hudson…
-David Barbour, Lighting & Sound America
The photo of earth I mentioned hangs on a wall in the small map shop—designed in detail by Anshuman Bhatia with dexterous lighting by Paul Hudson—owned by a gay man named Jody (Arnie Burton).
-Samuel L. Leiter, thebroadwayblog.com
PRIVATE MANNING GOES TO WASHINGTON
A prominent feature of the production is Paul Hudson’s environmental scenic design … Brightly lit hallways, with white sheets on the walls, the ground strewn with manila file folders lead to the actual theater. Small rows of chairs of various configurations face the stage. Desk lamps, numerous file boxes, a paper shredder, and more manila folders adorn the playing area … Mr. Hudson has provided a meticulously detailed and immersive landscape for the performers and the audience. Hudson also designed the mostly stark but suitably varying lighting that dramatically highlights the events.
-Darryl Reilly, Theaterscene.net
With a simple but effective set design by Paul Hudson made mostly of stacks of manila envelopes, a gradual reveal of the horrors held inside these beige folders is deeply affecting.
-Elizabeth Kipp-Giusti, Theatre Is Easy (theasy.com)
VERITAS
But praise must be paid to the lighting designer, Paul Hudson, and to Mr. Richardson, who also designed the sound; the interrogation sequences are bravura pyrotechnical displays, a stark, staccato latticework of sonic and visual textures.
-Andy Webster, NY Times
With century old electrical design, the lighting design by Paul Hudson is creative and appropriate: old oil lamps are scattered throughout the venue, there are lights hung overhead in the rafters of the church, and at times bright white lights that are set back from the playing space cast a fitting shadow on the entire production.
-Ryan Mikita, TheaterScene.net
RACHEL
This is a glorious set by …. Courtney Nelson … Assisted by Paul Hudson’s wonderful lighting, the play oscillates between washes of warm amber and cold, isolating specials to represent the whiplash of trauma. In tandem with these visuals, I loved Grimke’s polemic interplay between young and old, North and South, male and female, because it represented so many untouched factions of “Blackness”.
-Jerron Herman, theEasy.com
IPHIGENIE EN AULIDE
The performance … was minimally stage by the director David Paul. The singers fully acted their roles in a clearing in front of the orchestra, minus sets and props though with some effective lighting touches by Paul Hudson. It could have been taken for a spare modern-dress production.
-Anthony Tommasini, NY Times
GIBRALTAR
Paul Hudson’s gentle lighting, a field of stars behind a scrim, exquisitely sets the mood.
-Andy Webster, NY Times
Paul Hudson’s unobtrusive lighting does not draw our attention until the magical moment when Bloom notices the stars in the nighttime sky which suddenly appear.
-Victor Gluck, Theaterscene.net
BRUSH WITH GEORGIA O’KEEFE
Where the artist’s essence best comes through is in the lighting design, by Paul Hudson, evoking O’Keeffe’s beloved desert landscapes, and projections by Marilys Ernst, providing gentle glimpses of her remarkable canvases, sometimes flinty and stark, sometimes lush and feminine, often representational yet entrancingly abstract. Both convey the mandatory Southwestern enchantment.
-Andy Webster, NYTimes
Paul Hudson’s lighting design and Margaret Pine’s sound design are the production’s heroic workhorses, tirelessly creating situations, establishing locales, and eliciting mood for the play’s wide-ranging vignettes.
-Adam Cooper, OOBR.com
SHANGHAI GESTURE
Magnificent mid-1920s costumes by Gail Cooper-Hecht, Michael Anania’s economical but evocative set (a period red reception room and pastel boudoir falling somewhere in style between dowager empress and “Limehouse Blues” bordello), and apt lighting by Paul Hudson strikingly set off this rare New York appearance of John Colton’s hit 1926 Broadway play
-Robert Windeler, Backstage
… Kalfin and his set, costume and lighting designers (Michael Anania, Gail Cooper-Hecht and Paul Hudson) deserve a shout-out for evoking the play’s red-hot atmosphere of sex, drugs and Mother Goddamn’s vitriol on the Julia Miles Theater’s tight stage.
-Elyse Sommer, CurtainUp.com
ANNA CHRISTIE
Paul Hudson’s subdued lighting and Michael Anania’s rustic set, with ropes suspended from above being the principal indication of the sea and the ship, keep O’Neill’s universal themes of love and hope firmly anchored in time and place.
-Paulanne Simmons, CurtainUp.com
COLOR OF FLESH
Set designer Kevin Judge uses the small space to its full advantage, with the help of Paul Hudson’s masterful lighting, both of which set off T. Michael Hall’s sumptuous costumes to perfection.
-Rebecca Jones, showbusinessweekly.com
THE TRIAL OF K
The lighting, provided by Paul Hudson, is attractive and evocative.
-Richard Hinojosa, NYTheatre.com
AIN’T SHE BRAVE
The lighting design by Paul Hudson was incredibly impressive, some of the best I’ve ever seen in a festival showing; transforming the bare stage into various locales such as a subway car, a high-end department store, and a slave ship.
-Teddy Nicholas, NYTheatreNow.com