Press

Note: reviews written before Ari’s name change reference their old name.

The Bridges of Madison County

“O’Gara’s production imagines the romantic view of covered bridges and wide-open farmland with a few simple, effective projections (by Garrett Herzig), letting the cast and the sweet sounds of Matthew Stern’s orchestra fill in the rest.” Josh Garstka, Talkin’ Broadway

“Special mention should be made about the extraordinary Lighting Design by Annie Weigand, as well as the Projection Design by Garrett Herzig, which work visual magic for changes of scene and mood.” Jack Craib, South Shore Critic

Mala

2016 ArtsImpulse Award Nomination, Best Projection Design

“Not surprisingly, ArtsEmerson’s production, sensitively helmed by co-artistic director David Dower, is likewise chilly. Three soft screens, gathered at the bottom, shimmer with blue light, falling snow and even icebergs. (The projection design is by Garrett Herzig.) Along with placards dividing the play into parts, the Spanish sections of the bilingual script are also projected, followed by their translations.” Carolyn Clay, The ARTery | WBUR

Fast Company

“Director M. Bevin O’Gara oversees a cohesive, snappy production with some glossy effects that are rooted in the bedrock of Cameron Anderson’s deceptively simple scenic design, which takes an urban motif of sooty-looking brickwork and industrial red piping. But those gray surfaces double as de facto chalkboard for Garrett Herzig’s sophisticated projection design, which spells out in animated chalk lines the play’s various chapter titles and different settings.” Kilian Melloy, The ARTery | WBUR

“Garrett Herzig’s between-scene projections and Arshan Gailus’s jazzy, crackling original music reinforce the sense of a fast-moving caper film.” Jeremy D. Goodwin, Boston Globe

“What audiences are most likely to remember most are Garrett Herzig’s animations projected on the gray brick wall. Herzig evokes the lettering styles of American comic books in supertitles that announce the grifting or game-theory strategy about to play out in the next scene.” Ian Thal, The Arts Fuse

“Aided by a great original jazzy score from Arshan Gailus, and Cameron Anderson’s very cool gray-brick set upon which projections of the names of cons and other info flash (kudos to projection designer Garrett Herzig), the con part of the play works like a charm.” Alicia Blaisdell-Bannon, Cape Cod Times

“Cameron Anderson’s functional, back-alley-looking set and Garrett Herzig’s splendid projections are at once realistic and reminiscent of something you would find on a comic book page.” Christopher Ehlers, TheaterMania

The Snow Queen

2015 ArtsImpulse Award Nomination, Best Projection Design

“Those snowflakes swirl atmospherically in “The Snow Queen,’’ thanks to projection designer Garrett Herzig, who also sends equations hurtling across a screen with enough force to trigger my mathphobia.” Don Aucoin, Boston Globe

“But at New Rep, under Lombardo’s assured direction, with Garrett Herzig’s projections raining snowflakes, asteroids and mathematical equations to join the frosty precipitation and petals cascading from the ceiling, it looks at once gorgeous and gritty.” Carolyn Clay, The ARTery | WBUR

“Intriguing projections by Garrett Herzig help to create a world of tumbling snowflakes.” David Brooks Andrews, The MetroWest Daily News

“The New Rep has spared no expense in bringing the musical adaptation to life and the production values are simply superb, from Ryan Bates set to Franklin Meissner’s blue-tinged lighting that’s as ice cold and forlorn as the frozen places Kai and Gerda visit, to evocative projections by Garrett Herzig that add greatly to the atmosphere, and Frances Nelson McSherry’s wonderfully creative costumes” Rich Fahey, On Boston Stages

Albatross

2016 IRNE Award Winner, Small Stage, Projection Design

2015 ArtsImpulse Award Nomination, Best Projection Design

“The sails soon become the screens onto which Garrett Herzig’s projections play out, whether cozy and slightly surreal (cartoonish looking lanterns, warm and glowing), or animated and menacing (ocean swells, heaving waves, lashing torrents of rain).” Kilian Melloy, The ARTery | WBUR

“Herzig’s animations, whether they are glimpses of churning Antarctic waters or visions of the disoriented perspective of the mariner, support every dramatic turn in the story.” Ian Thal, The Arts Fuse

Dear Elizabeth

“Even the subtitles, which key us to events ranging from Lowell’s marriage to Elizabeth Hardwick to the suicide of Bishop’s longtime Brazilian lover, Lota, are deployed in novel ways.” Jeffery Gantz, Boston Globe

“The production also includes some wonderfully inventive projections that allow the audience to travel with Lowell and Bishop to some of their favorite places.” The White Rhino Report

Tribes

2014 IRNE Award Nominee, Small Stage, Projection Design

“In exploring that dilemma and the steps Billy takes toward forging an identity of his own, O’Gara elicits some of the finest ensemble acting seen on any Boston stage this year. She also makes skillful use of sound and music (the sound design is by Arshan Gailus) and projections (by Garrett Herzig) to underscore what is being lost, found, and regained in Tribes.” Don Aucoin, Boston Globe

“Kudos to all the designers, particularly to Arshan Gailus (sound) and Garrett Herzig (projection), for making the production so sensual.” Ed Siegel, The ARTery | WBUR

“So the play and the plight of its hero are, indeed, touching – and basically offer a field day to sound designer Arshan Gailus, who conjures various levels of deafness with skill, and projection designer Garrett Herzig, who complements Gailus’s effects with intriguing imagery.” Thomas Garvey, The Hub Review

Ryan Landry’s M

“Special mention should be made of the Projections Design by Garrett Herzig, so perfect it makes one believe there should be an award category for this technology.”  Jack Craib, South Shore Critic