Yet more than any “Lear” I’ve seen (and nobody knows all the “Lears” I’ve seen), this Theater for a New Audience production gives the impression of talking to — rather than yelling at — its audience. “Come closer,” it seems to say. “Listen carefully. You might just find yourself in what’s being said.” No matter that you and your own kin will never be royals …

… Most crucially, Marcus Doshi’s lighting and Michaël Attias’s sound and music design summon a world in which the senses career between confusion and clarity. A sequence in which the blinded Gloucester stands alone amid the cacophony of battle is exquisite.

And for the fabled storm on the heath, we shift between muddled darkness and sudden, startling brightness. In those precious moments of illumination, we are allowed what feel like flashes of complete understanding, the kind that come to us in dreams and vanish by morning. Mostly, we’re left groping in the shadows, trying to make sense of the people we thought we knew best.

—Ben Brantly of the New York Times on King Lear produced by Theatre for a New Audience (Read the full text of the review here)

But director Arin Arbus, with a largely superb design team, has taken us straight to the essence of the story and let us discover it anew… Arbus stages splendidly throughout against sparsely attractive sets by Riccardo Hernandez, given added depth by the superb lighting of Marcus Doshi…

—Richard Ouzounian of the Toronto Star on La Traviata at Canadian Opera Company (read the full text of the review here)

The design team achieved miracles of economy and imagination… which suggested a moonlit forest grove, a starlit sky, and the multi-doored interior of a classic farce, all lit with clear-eyed cool by Marcus Doshi.

—F. Paul Driscoll of the Opera News on La Calisto produced by Juilliard Opera (read the full text of the review here)

Light in the darkness is a theme throughout: Flashes evoke terror and wonder; tiny pinpoint lanterns hang from the ceiling; a brilliant spotlight streams from the bed where Mary gives birth surrounded by the chorus. (The lighting designer is Marcus Doshi.)

—Heidi Waleson of The Wall Street Journal on El Niño produced by Spoleto Festival USA 2015 (Read the full text of the review here)

Pay close attention to Marcus Doshi’s candlelight-inspired lighting, which in the final scene features a cold shaft of early morning sunlight that grows larger and larger as Nora, barely speaking above a hush, explains to Thorwald that she no longer loves him and has no intention of staying with him. Dawn is breaking over the Helmer household and it’s a harsh one.

-David Barbour of Lighting and Sound America on A Doll’s House produced by Theatre for a New Audience 2016 (Read the full text of the review here)

If Marcus Doshi appeared to light The Father From an unseen hearth, his work here exploits the movement of living candles and only in the final moment an abstract light is made tangible. This light enforces Nora’s sense of duty, calling her to a manifest destiny which will take her home and to an individualism. This sobering glare sponges the romance from the room. As wife she was painted with dripping and dying candles, as Nora she is presented as she is.

-Wesley Doucette of New York Theatre Review on A Doll’s House produced by Theatre for a New Audience 2016 (Read the full text of the review here)

The costumes (by Anita Yavich) are more or less in period (sort of abstract medieval), and the set design (by Julian Crouch) and lighting (by Marcus Doshi) use a prototypical black-box theater space to create a world of endless, enfolding night. When bright light pierces this land — as it does in Macbeth’s second visit to the witches or in a silence-torn, grippingly staged banquet scene — it is disorienting and blinding.In this world, at least for men like Macbeth, life is much so easier in the dark, when you can’t see what you’re doing.

—Ben Brantly of the New York Times on Macbeth produced by Theatre for a New Audience

I can’t remember any other Shakespeare production that inspired my admiration even for the way the actors are arrayed on a simple thrust stage, creating compositions of rich emotional eloquence. It helps that her design team — … particularly Marcus Doshi (lighting) — all contribute first-rate, understated work in tune with Ms. Arbus’s rigorously simple aesthetic.

—Charles Isherwood of The New York Times on Othello produced by Theatre for a New Audience

Marcus Doshi’s lighting design, effective throughout, offered a truly gooseflesh thrill when Orest’s longed- for arrival was preceded by a looming shadow, succeeded in turn by a sudden liberating illumination of the whole stage.

—Bernard Jacobson of The Seattle Times on Elektra produced by Seattle Opera

The lighting design by Marcus Doshi and the projection design of Sven Ortel were completely successful. They enhanced the theatrical experience in ways that proved the theories of Kandinsky, Schoenberg and others of the represented composers, never more so than in the Scriabin performance.

—Arlo McKinnin of Opera News on The Blue Rider: Kandinsky and Music produced by the Miller Theatre and Guggenheim Works & Process

…it gave a suggestion of how the opera might have looked had it actually received a staging at Terezín. Marcus Doshi’s scenery amounted to little more than a desk, a few chairs, and a white backdrop which served as a screen for numerous striking silhouette tableaux (achieved with evocative lighting, also designed by Doshi).

—Eric Myers of Opera on Der Kaiser von Atlantis produced by the Greenwich Music Festival

Either way, my bowler hat is off to Newell, his design team and his cast, all of whom seem to be having the lark of their lives. In the show’s quicksilver pace, and particularly in its expressionistic lighting scheme by the brilliant Marcus Doshi, they’ve caught the play’s mercurial quality, delineating each of Stoppard’s dynamic shifts of tone and chronology with the clarity of a snapshot.

—Kevin Nance of The Chicago Sun-Times on Travesties produced by Court Theatre

From the sun-drenched Mediterranean courtyard and boysenberry-colored skies of designers Patrick Clark and Marcus Doshi’s beautiful Messina setting to the sprightly sparring between the Bard’s famously bickering Beatrice and Benedick, this “Much Ado” visually and temperamentally basks in a sunny disposition from start to finish.

—Fabrizio Alemedia of New City Chicago on Much Ado About Nothing produced by Chicago Shakespeare Theatre