Unusual Acts of Devotion
The La Jolla Playhouse

“The play couldn't ask for a more handsome production, Stanton gradually and subtly ushering designer Santo Loquasto's rooftop realism into a more magical vein.” - Variety

"Santo Loquasto's rooftop scenic design expertly sets the place and the mood; Ben Stanton's lighting design gives the proceedings a soft summer night's glow; while John Gromada's sound design never lets one forget what a bustling, noisy, dangerous but thrilling city New York is."
- Theatermaina

The Injured Party
South Coast Rep.

"David Korins' magnificent yet neutral black-and-white suggestion of an apartment environment readily adapts itself to multiple locations through the sensitive color changes in Ben Stanton's lights, including a suggestion (is it orange or saffron?; the debate continues) of artist Christo's 2005 Central Park installation "The Gates," evoked numerous times as an event central to the spiritual lives of these characters and of America itself."
- Variety

"The most graceful aspect of Cullman's work is the physical staging. Set designer's David Korins' tastefully modern Manhattan interior is transformed by Ben Stanton's multihued lighting to reflect changing addresses and unstable moods." - LA Times

Godspell
The Paper Mill Playhouse, New Jersey

“More tints are provided still by lighting designer Ben Stanton. Warm hues caress act one, and stark whites show the reality of act two. It’s the best lighting seen on any Jersey stage this year.” - The Star-Ledger

“David Korin’s set, a towering network of scaffolding, ladders and stairs, is well governed by Ben Stanton’s lighting design, which frames each player in their special moment with piercing definition.” - Variety

“The production is enhanced by Ben Stanton’s expert lighting…” - TheatreMania.com

“Korin’s set of scaffolding, a canopy of plastic tarp and strings of exposed bulbs seen on construction sites, achieves an almost sculptural beauty under Ben Stanton’s colorful and shrewd lighting…” - American Theatre Web

Love's Labour's Lost
The Huntington Theatre, Boston

"At the center of the production both physically and thematically is what must be the mother of all trees, stunningly designed by [Alexander] Dodge. It's a giant arbor around which characters hide, eavesdrop and romp. Under Ben Stanton's gorgeous lighting, however, its verdant lushness eventually takes on an autumnal hue. As the frolics of summer give way to a more sober season, the characters, too, change and gain a greater understanding of life, death and, most significantly, love."

Frank Rizzo, Variety, May 2006

Sandra Bernhard: Everything Bad and Beautiful
The Daryl Roth Theatre

" The show, 'Everything Bad and Beautiful', features her hot band the Rebellious Jezebels, and it looks terrific, thanks to scenic and lighting designers David Swayze and Ben Stanton. If you are fresh to Bernhard, you are likely to be blown away. And even longtime fans are well-served. "

Liz Smith, NY Post, April 10, 2006

"...She is helped immensely—although one has the sense that she doesn't really need it —by Ben Stanton's terrific lighting, moving the atmosphere back and forth between rock concert, solo theatre performance, and intimate cabaret...."

Eric Pliner, nytheatre.com, April 2006

Light Raise the Roof
New York Theater Workshop

".....Narelle Sissons' set, Ben Stanton's lighting and the sound design of Robert Kaplowitz provide the right levels of tension and complexity."

Margo  Jefferson, New York Times, May 25, 2004

"Complementing [Narelle Sissons'] work, lighting designer Ben  Stanton has met a handful of intriguing challenges. Since the bright  light of day is not in playwright Corthron's plan, Stanton suggests many shades of night as it only partially illuminates above-ground niches and recesses. He has also created underground half-light and has cast enveloping shadows across the stage as well as against the auditorium  walls. Perhaps his most beautiful accomplishment is his calling attention  with an eerie, greenish-blue light to the series of metal beams that  hold up the New York Theatre Workshop space. In a manner of speaking,  Stanton has taken Corthron's title to heart and literalized it: His lighting  raises the roof."

David Finkle, TheaterMania.com, May 21, 2004

The Lonely Way
The Mint Theater Company

"....The set designer, Vicki R. Davis, and the lighting  designer, Ben Stanton, play artfully with the tension between  surfaces and depths that is thematically central to Schnitzler's  work. When the play begins, this sophisticated circle of friends  sits in the pale, elegant light of today's version of a chic  Viennese salon, complete with silver resin benches designed by  Frank Gehry. A gold frame at the rear displays what seems to  be a painting of a twisting road, like the one on which Fichtner fled from Gabriele, "to a thousand unseen roads, all of  which ... I was still free to follow." With a shift in lighting,  it becomes clear the piece is in three dimensions, an empty, metal cage....”

Miriam Horn, New York Times , 2/15/2005

Play Yourself
The Century Center Theater

“... ''Play Yourself'' has been mounted by  a crack technical team -- including John McDermott (scenery), Catherine  Zuber (costumes), Ben Stanton (lighting) and David Van Tieghem (music)  -- that creates Jean's realm of exile as a sly intersection between a  bright prosaic present and a dark mythical past...”

Ben Brantley, New York Times, July 11, 2002

Bus Stop
The Williamstown Theatre Festival

"The scene to scene shifts are handled  smoothly and with minimal fuss....It's all beautifully lit by  Ben Stanton to let us see the snow gradually replaced with sunlight. "

Elyse Sommer, CurtainUp Berkshires

The Cook
Hartford Stage

"Lighting designer Ben Stanton's use of light (and its absence) convinces us that the "world (indeed) ended at midnight" New Year's Eve 1958, and nothing in Havana will ever be the same again."

Bernadette Johnson