From The New York Times
"Ms. ZambelloÕs concept, which employs engrossing video projections, was at its most inspired in ÒGotterdammerung.Ó During the mysterious prologue, the three Norns who weave the rope of destiny look like computer lab technicians in aquatic-green dresses and black leather aprons, and their rope is a thick computer cable, which snaps, causing cosmic system failure."
From The Wall Street Journal
"Designer Peter J. Davison's set featured two metal skeletons of the towers that lurked in the background until the time came for their close-up, while S. Katy Tucker's projections on scrims fluidly created the different locales with the aid of Mark McCollough's lighting.Ó
From The Washington Post
"Zambello and her design team (Michael Yeargan, Catherine Zuber, Mark McCullough, Jan Hartley and S. Katy Tucker) deftly mix video, touches of Americana, old-fashioned stage illusion and suggestive costumes to create a world that isnÕt explicitly American, or mythological, but a subtle combination of both. Although eclectic in its material, the production is also cohesive, progressing from a leafy-green world of clean water and innocence in ÒRhinegoldÓ to a soot-filled industrial wasteland in ÒGotterdammerung.Ó
From The SF Sentinel
"Inspired projection designs by S. Katy Tucker Ð whose most recent work with SFOpera includes the 2011 production of Gotterdammerung Ð perfectly integrates the operaÕs challenging series of episodes that range from Cornwall to Rhodesia, to the La Drang River Valley of Vietnam, and finally to the streets of Manhattan and the aerosphere between the twin towers of the World Trade Center."
From The Washington Times
"S. Katy TuckerÕs projected Operascape backdrop, which ran a kaleidoscope of marvelously evocative black and white drawings depicting interior and exterior scenes set in Victorian London. Each time Sweeney whacked another customer, bloody mad-slasher marks ripped across the projection, dripping into the inky London night."
From The San Francisco Examiner
"The climactic last scene, ending the four-opera cycle, was a conflagration with superb projections, with flames leaping up and ash falling. Then the crowd gathering upstage parted and a smallÊgirl entered, carrying a sapling. In a simple, moving gesture, she planted the young tree, and the curtain fell Ñ a new beginning after the end...Projections designed by Jan Hartley and S. Katy Tucker were excellent at all times, and could have served as sets all by themselves."
From SF Classical Voice
"Jan Hartley and S. Katy TuckerÕs projections, again a major element, merit an award. The flow and billowing of clouds is a recurrent interlude theme. There are the outlines of dark industrial structures, buildings, cracking towers, and the like. SiegfriedÕs ÒRhine JourneyÓ is taken via an overhead filmed depiction in black and white over a grim landscape, the environment ravaged, the bed of the Rhine desiccated. On his return trip to abduct BrŸnnhilde, accompanied by sinister music, the images are more somber, through narrow rock crevasses and canyons."
From The Washington Times
"By the judicious use of scenic projections, this clever production effortlessly conjures up the epic movement of time and space...The entire production possibly one of the best we've ever seen at the Barns at Wolf Trap..."
From The Baltimore Sun
"Eric Allgeier's sleek set design was complemented by S. Katy Tucker's video projections, which introduced often striking imagery without ever getting gimmicky. The total package of engaging musicality and theatricality underlined how much power remains in this absorbing work from the dawn of opera."
From The New Yorker Magazine
"...And credit Katy Tucker with some amazing costume changes
achieved by light projection"
From The New York Times
"...in Felipe Perez Santiago's "Frozen," the rumble of Mr. Zeigler's live playing and recorded sounds corresponded with the video artist S. Katy Tuckers liquid spatters, fleshy projections and inky shadows. During Mr. Perez's jittery "Glaub" Mr. Zeigler's playing triggered Ms. Tucker's screen doodles like a high-tech Etch A Sketch, from slow curls to frenetic scribbles and back."
From The New York Times
"a video on the back wall periodically illuminates the
darkness. Early, slow-moving vortexes add to the sense of
uneasily shifting relationships..."
From Broadway World
"Video projections are frequently used to show the statue in
question as well as set scenes and several times they are
ingeniously cast directly upon the actors in a gorgeous piece
of theatrical legerdemain. Since the actors and set are
largely dressed in pale earth tones, the saturated colors of
the projections work beautifully, transforming the set and
actors."
From NYTheatre.com
"The upstage wall...serves as a screen for video scenery
indicating changing locale...What makes this work is that this
projection screen is only utilized during transitions...
S. Katy Tucker's videos are appropriately placed and well-filmed."
From NYTheatre.com
"Thank goodness for the video and projection, designed by Katy
Tucker...Katy Tucker's inventive projections show scenery
passing by adding dimension and space to the tiny stage."
From Variety
"The play is best served by its designers...Katy Tucker's video
projections help make the play a home for random humor."
From CurtainUp
"The insight into how the human brain kicks up the memories
that are the heart of the projects we collect, the Terror Alert
System color scheme, the collectors contacted on EBay are
handsomely illustrated by Jan Hartley and Katy Tucker's
projections."
From BlogCritics.com
"The production is well supported by a creative set
by Derek McLane and video design by S. Katy Tucker"
From Her Mom
"S. Katy Tucker is the most talented projections designer I've ever met."
From Backstage
"By means of nifty projections by Katy Tucker, Harrow and Vince
Nappo are instantly costumed as the mother and son of an earlier
time."
