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What some people are saying...


Boston Irish Reporter - January 2010 (full article)

Cape Cod Times - December 2010 (full article)

Next To Normal

“Seághan McKay’s projections, with line after line of dry psychological jargon projected on the panels of Eric Levenson’s versatile set, likewise emphasize academic remoteness from the lived experience of mental illness.” Don Aucoin, The Boston Globe

“As the show progresses, the impressive projections serve many purposes...they also tell of the state of Diana, the mother suffering from a multitude of mental and emotional issues...The more acute the symptoms, the more crowded the walls become.”
JK’s Theater Scene


Big River

“Janie E. Howland’s simple set of planks provides a perfect canvas for each of the episodes of Huck’s journey.  Heightening the visual depth are projections across the backdrop designed by  Seaghan McKay.  The projection of the river is particularly effective and truly simulates the motion as if the audience is traveling with Huck and Jim.” Becca Kidwell, The New England Theatre Geek

“Howland and McKay combine their talents to magically create the illusion of the raft in motion on the river on the Lyric's compact stage, adding an unexpected authenticity to the journey of Huck and his traveling companion Jim, the runaway slave.” Nancy Grossman, Broadway World.com

Educating Rita

“Seaghan McKay’s projections of changing weather and seasons through Frank’s office windows are so good that they are a character in the play as well.” Mark Favermann, Berkshire Fine Arts

Nine

“The show provides several breathtakingly lovely moments, aided by a stellar projection design by Seághan McKay artfully cut out by columns of the spa on Eric Levenson’s set.” Joelle Jameson, Blast Magazine

Light Up The Sky

"Projections and Moss Hart? In my heart, I resisted.
And then I saw the show, And was taught what projections could do by an artist. They can help create magic."
Julie Hennrikus

[title of show]

"Eric Levenson's set is just a solid brick wall, painted pure-white, on which Seaghan McKay projects windows into the bricked-up-windows, or hundreds of programs for real musicals flitting by as they're alluded to in a "let's write a musical like [BLANK]" song." Larry Stark, The Theater Mirror

"...very well-executed technicals, including impressive sound (Aaron Mack) and lighting (Jeff Adelberg) and Seághan McKay's perfectly timed projections." Jon Sobel, BlogCritics

Jerry Springer: The Opera

"Eric Levenson builds a big, versatile set - TV soundstage or seventh circle of Hell? It's both! - and Karen Perlow's lighting, Aaron Mack's sound, and Seaghan McKay's projections round out the thoughtful technical contributions to this complex but crisp production." Louise Kennedy, The Boston Globe

"A working monitor above the brick and pipe sunken living room set projects show titles that are replaced at the commercial breaks by hilarious advertising parodies that hawk precisely the right products at precisely the right time. Ads for cosmetic surgery, pain killers, ED remedies, and even guns match the target demographic and situation unfolding at the time. Hand-held video cameras also capture and project real-time live-action stage fights that break out between audience members, security crews and guests. The impact can only be described as controlled pandemonium." Jan Nargi, Broadway World.com

"...the projection design by Seaghan McKay was positively brilliant..." Larry Murray, Berkshire Fine Arts

"Seághan McKay designed colorfully creative, often live, projections." Matthew Small, Talkin' Broadway