WEST SIDE STORY: The Gateway Playhouse at Bellport, New York, 2011

"From the tangle of fire escapes set against the backdrop of West Side’s seamy underbelly to Doc’s Drugstore,
resonating with nostalgic signposts of the 1950s, Peter Dean Beck’s sets are breathtaking.
Their beauty is amplified by lighting designer Marcia Madeira, who uses lighting to magnificent effect.
The gorgeous costumes designed by Jose M. Rivera make for a glorious, eye-catching spectacle.
Kudos to Andrew Austin and his eight-piece orchestra, whose music is the story's centerpiece."

Elise Pearlman of the Patchogue Patch, May 25, 2011

"My dearest Marcia!! I never got to thank you for your beautiful work you did on WSS!!
I saw the show yesterday, and was obsessed with the warmth and beauty of your painting on that stage!!
It is rare in our business to find people such as you, with such warmth, talent, and lack of ego!
You were really such a breath of fresh air to work with! I hope to God we do it again!!"


Carlos Luis! (Encinias, Director and Choreographer of WEST SIDE STORY May 22, 2011

DIRTY ROTTEN SCOUNDRELS: The Gateway Playhouse at Patchogue, New York, 2009

"You know you're on the Riviera by the lighting of Marcia Madeira, who gives the Mediterranean its sparkle."

Steve Parks of the Long Island Newsday, September 1, 2009

JESUS CHRIST SUPERSTAR: The Gateway Playhouse at Patchogue Theatre for the Performing Arts, 2002

"Marcia Madeira is the least difficult lighting designer you will ever work with."

Jeff Bellante, Associate Producer, Gateway Playhouse, 2002

OKLAHOMA!: 50th Anniversary Tour by Troika Organization 1994

"This archive version, dazzles with picture-perfect sets and costumes. The lighting is luscious. The dancing sizzles."

Jacqueline Gerber, State Journal-Register, January 8, 1994

ARMS AND THE MAN: The Huntington Theatre, Boston 1993

"As standard Huntington practice, the physical production is pictorial and opulent. James Leonard Joy's scenery (Bedroom, garden in March bloom and library, all seen against green meringue mountains) is richly detailed. The sets have been superbly lighted by Marcia Madeira; candle flames in Raina's darkened bedroom give way to the sunny outside in the garden scene."

Kevin Kelly, The Boston Globe

CYMBELINE: The Huntington Theatre, Boston 1992

"Marcia Madeira's lighting plan is mood-perfect, particularly when fog swirls over its focus."

Kevin Kelly, The Boston Globe, March 17, 1992

ANNIE GET YOUR GUN: Alliance Theatre, Atlanta

"Marcia Madeira's lighting has that flamboyant flair of Broadway lore."

Dan Hulbert, Atlanta Journal Nov 17, 1989

"Fran Soeder is bringing back members of the magic-formula team from his previous, gorgeous-looking Alliance blockbusters"

Dan Hulbert Atlanta Journal Nov 12, 1989

MY ONE AND ONLY: St. James Theatre, New York, 1983

"Marcia Madeira who lighted it, (endlessly as they delayed the opening), offers the most precise timing of cues I have seen in years. Every followspot pickup or blackout, each and every light change is timed to perfection. It sure does help keep us from seeing the tricks played to cover a hollow book! She uses smoke and moving projections with great effect?..(Nearly everything about this musical is hokey) Yet Madeira's lighting is classically good."

Lee Watson, Lighting Dimensions, June 1983

NINE: 46th Street Theatre, New York, 1982

"the Canalettoesque backdrop that, under Marcia Madeira's sure lighting, modulates picturesquely from day to night and back, practically smells of Venice."

John Simon, New York Magazine, May 24, 1982

"Some things, however, though identical, became more evident on second exposure. I now appreciated more deeply the marvels of the endlessly resourceful lighting by Marcia Madeira; if a rainbow could think, it would take lessons from her."

John Simon, New York Magazine, June 21, 1983

CLOUD 9: Theatre de Lys, New York, 1981

"The production has simple but serviceable sets by Lawrence Miller, costumes by Michel Stuart and Gene London and some really smashing lighting by Marcia Madeira."

Hollywood Reporter, Wednesday, May 20, 1981