about the work

  • "whittyn jason’s set, props, and lighting design is a full participant in the playfulness of the enterprise, with gauzy veils that separate supreme beings from the proletariat, or blue silk rivers, or white ocean waves."

    —liz nicholls, 12th night [ogboingba tries to change her fate]

  • "...imprisoned in fathomless despair within and without, sometimes bursts free of her chains in escapades of pure joy — conjured in ecstatic physicality and liberating bursts of colours and light (expressive lighting designed by whittyn jason) that play across the white drapery of narda mccarroll’s graceful set design."

    —liz nicholls, 12th night [mermaid legs]

  • “…anahita dehbonehie’s striking sand-filled set and whittyn jason’s dramatic lighting both indispensable participants in the horizon expander that took a muslim immigrant kid in southern alberta to the old world, and a vision of a new creation myth in the garden of eden."

    —liz nicholls, 12th night [the hooves belonged to the deer]

  • “whittyn jason’s design picks up on that, the idea of layering in a dangerous world. It’s a succession into depth of panels, turned by human agency, that glow like stained glass, through which we discern shadowy movements.”

    —liz nicholls, 12th night [anahita’s republic]

  • “whittyn jason’s lighting design, too, is excellent, using footlights to cast menacing shadows on pastor isaac’s face during sermons and disturbing pep talks.”

    —aisling murphy, intermission magazine [the hooves belonged to the deer]

  • “whittyn jason’s stunning lighting design has a tactile, subterranean vibe. small, barely-there pockets of spiritual glow pierce oceans of stifling darkness, tying together the play’s two worlds with tender ease. and, since most of the show is rather shadowy, brighter climactic moments arrive with a gleaming dash of revelation.”

    — liam donovan, NEXT mag [the hooves belonged to the deer]

  • “a lighted boxing ring floats in a shadowy dark world, designed by whittyn jason and lighted with the tones of a previous century by steve lucas.”

    — liz nicholls, 12th night [the royale]

  • “whittyn jason’s lighting, a story in itself, flickers between heightened brightness and the romantically celebratory, and every once in a while catches a face, mid-second thought, in silhouette.”

    — liz nicholls, 12th night [re:construct]

  • “ whittyn jason’s captivating design puts us in the centre of a wave or lost in a galaxy of stars. we’re splashed by an incoming tide or travelling through infinite space, as projections ripple across seven round cosmic bubbles. are they portholes into the great beyond? are they microscopic atoms of tiny droplets of water? the strange and contradictory sense of being up close to nature and a tiny speck in a vast universe, seems crucial to the experience of teneil whiskeyjack’s ayita.”

    — liz nicholls, 12th night [ayita]