“Gordon’s staging finds a strong balance between painful revelation and horseplay in the locker room… Joanna Iwanicka’s set and Charles Cooper’s lighting provide additional veracity. (Glimmering lights on the tile wall suggest the reflection from the pool just outside the door.) “Dry Land” takes us on an unexpected journey into the hearts of darkness and light beating inside ordinary teenagers, and reflects them in all their messy complexity.”
Kerry Reid – Chicago Tribune

“The design puts us right where we need to be. We smell the chlorine, we see the lights reflecting off of the pool, we hear the water.”
Erin Shea Brady – Performink.com

The design work on this show is also remarkable. Joanna Iwanicka’s set design manages to create dynamic and distinct areas onstage in spite of the small space, and the high school locker room setting is detailed and accurate. Lighting by Charles Cooper provides a nice subtlety in design decisions despite the limited locations, and costumes by Janice Pytel add the perfect touches of realism.
Jessie Bond – Chicago-Splash.com

“Christopher Ash’s set and projections (with lighting by Charles Cooper), deftly interweave a metallic mid-century design vibe with 21st century technology, and its many pieces move so cleverly it looks as if Mader choreographed them, too.”
Heddy Weiss- Chicago SunTimes

“Christopher Ash’s set is an homage to the “Ed Sullivan Show,” which happens to feature prominently in the musical, dominated by several monolithic structures, bathed in psychedelic colors and patterns and projected with ever-changing images from that era. A turntable provides for smooth, simple and easily managed scenic changes, illuminated by Charles Cooper’s kicky, kaleidoscopic lighting.” 
Colin Douglas-Chicago Theatre Review

“The Production Profits immensely from Christopher Ash’s Scenic and projection designs….and the color of the projections enhanced by Charles Cooper’s gaudy lighting effects makes the production continually entertaining to watch…The Visual imagination of the staging will impress everyone.”  Daniel Zeff ”
Daniel Zeff – Chicagolandtheatrereviews.com

“Director/Choreographer Tammy Mader delivers a Bye Bye Birdie that is a warm and colorful explosion for a winter’s day.…There is great design work from Sharon Sachs (costumes), Charles Cooper (lights), and Ray Nardelli (sound). “Chicagostagestandard.com

“The staging at Drury Lane is beautiful, the cast is filled with energetic singers and dancers, and the entire show is a colorful delight.”
Jacob Davis-ChicagoCritic.com

“What truly impressed me with the staging of this show is that there was no real set. Instead, we had walls that could have projections to hold our attention (Christopher Ash) and some smooth lighting (Charles Cooper).”
Alan Bresloff-Around the Town Chicago

“Deserving of special praise, too, is Courtney O’Neill, whose environmental set (magically lit by Charles Cooper) works a miracle with The Gift’s challenging alley-shaped space. O’Neill has perched small playing areas in every corner of the room, with leafless tree branches subtly hinting at a fairy tale world that is all too real.”  
Heddy Weiss- Chicago SunTimes

“Thornton has the honor of bringing the playwright’s world premier to life. He’s worked with set designer Courtney O’Neill and lighting designer Charles Cooper to draw his audience directly into this play by presenting it alley style…..The effect is that Dr. Michaels’ patients never leave him. They’re always surrounding him. Never does he have the luxury of leaving his work at the office because all the other characters are constantly within eye- and earshot, always in his conscience. It’s a brilliant concept.”
Colin Douglas-Chicago Theatre Review


“As with all TimeLine productions, “Inana” is expertly acted, directed  and designed”
Heddy Weiss- Chicago SunTimes

“Scenic designer Collette Pollard’s upscale hotel room setting is instantly familiar and appropriately anonymous – you could insert the set into a room at the Ramada Inn and guests wouldn’t notice the difference. Charles Cooper’s lighting design intensifies the beauty and the mystery of Inana, often giving the titular sculpture an otherworldly glow that highlights its sacred powers.”
Catey Sullivan- Theatremania.com

“These performances are bolstered by the spectacular design team that TimeLine has brought together…Charles Cooper’s Lighting Design is able to aptly capture the transition from present to past.”
Jerald Raymond Pierce- Chicagostagestandard.com

The piece is set within a large, open space that places the theatergoer in the middle of the action. Designed by Megan Truscott and lit by Charles Cooper, this environmental setting suggests a seedy downtown saloon, along with two different apartments and a playground in Central Park.Told with clarity and staged with brisk sensuality and simplicity, Bailiwick offers a feisty, fiercely beautiful production that kills softly with its songs.”
Colin Douglas-Chicago Theatre Review

“Truscott and Lighting Designer Charles Cooper utilized every inch of space available to them with great success, blending environments in the ‘real world’ of the story while popping in and out of what amounts to a rock concert. “
Jerald Raymond Pierce-Chicago Stage Standard

“Lighting design is often overlooked in the role it plays to shape a performance space. I thought Charles Cooper brought energy and color, in addition to helping guide our attention in moments when there were quite a few things to focus on.”
Elena Colas- Chicago Literati Magazine