Reviews                                                       

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Albuquerque Journal
UNM's production of Twelfth Night April 2007
 " John Malolepsy’s set is magnificent and beyond my poor powers of description. A receding ellipsoid, with stairways alternating up and down—above and below—on both sides, is cut in a huge rectangle. The oval is truncated at the bottom by a vast thrust stage that diminishes with distance. Combined with intricate patterns of light and color, the stage effect is sumptuous." Barry Gaines

St. Petersburg Times
American Stage Company  St. Petersburg, FL   Shakespeare in the Park Much Ado About Nothing   2004
"The concept inspired a spectacular set by John Malolepsy, whose cartoonlike clouds take on a surreal life of their own in Bob Foley's shimmering lights, a palette rich in turquoise and lavender and burnt orange. Add Alison Parker's wildly eclectic, fanciful costumes, and you have, visually, what may be the most striking park production ever." John Fleming

 Ballet Review
 ODC/San Francisco production at the Kennedy Center
" John Malolepsy's surreal lighting design for Brenda Way's Prague and the Angels  made everything and every body look like they'd been painted with an air brush."

San Francisco Examiner
ODC/SAn Francisco's Invisible Cities at Stanford's Memorial Auditorium
"It's a cinemascope vision of humanity, ravishingly lit by John Malolepsy..."

San Francisco Chronicle
ODC/San Francisco's Tamina at the San Francisco Herbst Theatre
" Christine Walker's costumes and remarkable set design as well as John Malolepsy's lighting, gave the "Tamina" a striking visual substance."

Seattle Post-Intelligencier
ODC/San Francisco at  UW: Meany Theatre.
"John Malolepsy lit all four works last night. He's Good."

EL Universal Caracas, Venezuela
The Company of the National Theatre of Caracas production of Our Town  (Nuestro Pueblo)
"Our Town is one of the best productions ever realized by CNT (Company of the National Theatre), if not the best. ...Together with leading actor Omar Gonzalo, another element of equal scenic weight stands out: the lighting. In this case, John Malolepsy's participation is as important to the production as the choice of the text itself."  Javier Vidal

"Director David Richard Jones, lighting designer John Malolepsy and costume designer  Eva Ivanyl, are responsible for  one of the best productions we have seen by the Company of the National Theatre in years. ... the lighting created a multiplicity of scenic spaces with a rich plasticity... "
"David Richard Jones, en la direccion, John Malolepsy en la iluminacion, y Eva Ivanyl en el vestuario, son los responsables de una de las mejores producciones que le hemos visto a la Compania Nacional en anos. ...la illuminacion creo una multiplicidad de espacios escenicos con una plastica muy rica..."  Leonardo Azparren Gimenez Theatre Critic  Caracas, Venezuela

Albuquerque Journal
Ballet Repertory Theatre’s production of The Wizard of Oz February 2013
“John Malolepsy’s lighting, swirling clouds, brillant rainbow and overall magical lighting was superb." Jennifer Noyer

Albuquerque Journal
Opera Southwest's production of Lucia di Lammermoor March 2009
"...the lighting design by John Malolepsy is particularly arresting in both color and texture, painstakingly enhancing each emotional sequence." D.S. Crafts

The Alibi
UNM's production of A Midsummer Night's Dream April 2005
"The gorgeous, complex, yet elegant art nouveau set is really the most developed and fascinating character in the show..." Steven Robert Allen

Albuquerque Journal
UNM's production of A Midsummer Night's Dream April 2005
"The most striking feature is the stunning set designed by John Malolepsy..." Barry Gaines

Albuquerque Journal
Ballet Repertory Theatre’s production of Alice in Wonderland February 2011
“John Malolepsy’s lighting projected the audience into the surreal dreamland ambiance of Lewis Carroll’s story." Jennifer Noyer

Albuquerque Journal
Opera Southwest’s production of Lucia di Lammermoor March 2009
“… the lighting design by John Malolepsy is particularly arresting in both color and texture, painstakingly enhancing each emotional sequence.”
D.S. Crafts 

Opera News
Opera Southwest's Production of Pastoral
"John Malolepsy's sensitive lighting... gave clues to what was real, what was memory."

Albuquerque Journal
Opera Southwest's production of Susannah, February 2004
"There is a bit of stage design which is as haunting as it is powerful: At the beginning and throughout the opera, we see background projections with beautiful changing colors and swaying billows. But they are the leaves of a tree. As Susannah's sad aria "The trees on the mountain" unfolds, leaves fall off. By the end of the opera, the final leaf falls, leaving a dead craggy tree, just as horror has replaced her happiness. Kudos to John Malolepsy, scene and lighting designer, for this outstanding feature."   Floyd E. Vasquez

Albuquerque Journal
New Mexico Symphony Orchestra/UNM Dept of Theatre and Dance production of West Side Story, 2004
"'... John Malolepsy's amazing set..."

Albuquerque Tribune
New Mexico Repertory Theatre- Santa Fe production of A Christmas Carol
"The scenic and lighting design by John Malolepsy was perfect in every respect. His occasional use of stark lighting, often originating on the set, created a cold aspect that exposed the harsh realities of Dicken's times."

Santa Fe Reporter
New Mexico Repertory Theatre- Santa Fe production of Cloud 9
"John Malolepsy's witty settings captured the decline and fall of the Brittish Empire..."

Albuquerque Journal
Albuquerque Civic Light Opera's production of Anything Goes
“... John Malolepsy's wonderful set..."