Timeless – Madison Ballet
“Lighting by Julie E. Ballard provides the canvas on which Ja’ Malik’s artistry truly shines. Alternating between warm and cool, minimal and maximal, intimate and grand, Ballard’s work not only illuminates the dancing but amplifies its emotional salience. The entire cast is invested. Michaela King commands the lead role. Eric Stith dances beyond his body.”
The Cap Times – Dan Van Note April 14, 2024
Aguas Que Van Quieren Volver- Hubbard Street Dance Chicago – Joyce Theatre
The dance picks up on the “other-worldly” sound of the score (maybe more accurately described as sounds from another world), abetted by the costumes, designed by Hogan McLaughlin – black skirts/shorts/swatches that are applied differently for each dancer – and Julie E. Ballard’s lighting (including long, rectangular swatches of color bands, one vertical and one horizontal, that echo, and expand the sense of, the black swatches in the costumes. The resulting “look” on stage is ascetic, but the interaction among the dancers is fascinating.
CritcalDance – Jerry Hochman, March 19, 2024
And Neither Have I Wings to Fly – First Folio Theatre
“Lighting design by Julie Ballard is excellent, with overhanging LED lights that change color as the mood shifts and also when there is a ghostly visitation.”
Around the Town Chicago – Julia W. Rath Feburary 3, 2023
Director Heather Chrisler evokes mid-50s Ireland at every wonderful opportunity – through Noel Huntzinger’s period costumes, the blissful original and traditional music and sound by Lindsay Jones, and the evocative lighting by Julie Ballard. All these rich elements enhance the stunning and detailed interior scenic design by Angela Weber Miller. PicksInSix – Ed Tracy February 2, 2023
The Making ~ The Seldoms ~ Choreographed by Carrie Hanson
“Julie Ballard’s superb lighting design is a silent partner, highlighting one moment, obscuring the next, and clearly separating audience from performers. Gradually we begin to sense a dichotomy between stage time and audience time as the interplay of light, action, and banners traps the moving bodies in their own time-warp.” See Chicago Dance – Nov 11, 2017 | By Lynn Colburn Shapiro
Berceuse ~ Hubbard Street Dance Chicago ~ Choreographed by Penny Saunders
“Julie Ballard’s lighting effectively defines their individuality, spatially isolating Schultz’s dance monologue in a pool of light, with Burnett watching him on the edge of its spill before they reunite in a lovely finish.” See Chicago Dance – May 11, 2017 | By Lynn Colburn Shapiro
Clan(Device) ~ Hubbard Street Dance Chicago ~ Choreographed by Alice Klock
“Deep freeze sounds of arctic breath set the five dancers in motion, caught between Ballard’s dramatic cross-beams of diagonally vertical light.” See Chicago Dance – May 11, 2017 | By Lynn Colburn Shapiro
A Glimpse Inside a Shared Story ~ Hubbard Street 2 ~ Choreographed by Yin Yue
“Julie Ballard’s dramatic lighting discovered chiseled lines and fleeting interactions, almost as if the light itself were a supernal partner to each of the seven flesh and bone dancers.” See Chicago Dance – Dec 14, 2015 | By Lynn Colburn Shapiro
“The ray of light in ‘A Glimpse’ is a real ray of light, Julie E. Ballard’s insightful lighting design, with a cone of light illuminating a soloist at the beginning and low light that transforms the performers for a few moments into eerie dancing skeletons, a nice bit of stage magic that focuses attention on the pluses in Yin’s choreography.” Splash magazine – Dec. 13, 2015″ | By Leanne Star
Power Goes ~ The Seldoms ~ Choreographed by Carrie Hanson
“Julie E. Ballard’s interactive lighting masqueraded as an invisible choreographic partner, heightening rhythm and dramatic intensity right up to the black, white, and red climactic conflagration. ” See Chicago Dance – Mar 22, 2015 | By Lynn Colburn Shapiro
Plainsong ~ Signal Ensemble Theatre ~ Directed by Bries Vannon
“I must mention the sound design (Anthony Ingram) and lighting design (Julie Ballard), because their rich, successful contributions provided a mood and place that added brilliantly to the telling of the story.” Chicago Theatre Review – 2014.
Emerging Choreographer’s Showcase ~ Deeply Rooted Dance Theater
“Julie Ballard’s inspired lighting gives every piece polish.” Chicago Tribune – June 28, 2014 | By Laura Molzahn
Four Seasons ~ Chicago Repertory Ballet ~ Choreographed by Wade Schaaf
“Each season brought with it a distinct look, complete with bold, colorful lighting from Julie Ballard – complementing the choice for white Marley.” See Chicago Dance – May 11, 2014 | By Lauren Warnecke
Off-Center ~ Choreographed by Paige Cunningham Caldarella
“Varied stage and sound designs also honor uniqueness. Julie Ballard’s bold lighting choices and a score that ranges from old Brenda Lee recordings to neo-classical cello to electronic washes sharply define individual sections.” Chicago Tribune – Nov. 13, 2013 | By Laura Molzahn
Whiteout ~ Same Planet Different World ~ Choreographed by Joanna Rosenthal
“The brilliant lighting design by Julie Ballard turns the lights on the audience, literally blinding them with shocking white.” See Chicago Dance – Oct. 13, 2013 | By Vicki Crain
“Extra sweet deserts were Julie Ballard’s lighting design (especially dynamic in this work, really taking a front and center role), and Petra Bachmaier of LUFTWERK’s video projections.” The Examiner – Oct. 13. 2013 | By Jordan Reinwald
Putting It Together ~ Porchlight Music Theatre ~ Directed by Brenda Didier
“The lighting design by Julie Ballard is simply beautiful. Ms. Ballard comes from lighting primarily dance productions and the soft hues she uses here only add to the sexiness of the design.” GoPride.com – Oct., 2011 | By Michael J. Roberts,
Marchland ~ The Seldoms ~ Choreographed by Carrie Hanson
“Tim Daisy’s spare but expressive percussion, played live in response to the movement, underscored Julie Ballard’s dramatic shifts in lighting. In fact, the hour-long piece is a well-orchestrated symphony of brief scenes as the eight dancers’ world shatters and slides into chaos again and again.” Chicago Tribune, Mar. 15, 2010 | By Laura Molzahn
The Waking Room ~ Khecari ~ Choreographed by Jonathan Meyer
“Meyer and Ballard have made a piece of dance cinema in the flesh.” Trailerpilot – Sept. 13, 2009 | By Zachary Whittenburg
“Though unlike, both designs are distancing, creating an otherwordly place – an effect enhanced by Julie Ballard’s harsh, highly directed and dramatic lighting.” See Chicago Dance, 2009 | By Laura Molzahn
The Birthday Party ~ Signal Ensemble Theatre ~ Directed by Aaron Snook
“The claustrophobic basement of the Chopin Theatre has never been put to better use than in Melania Lancy’s crepuscular kitchen with mossy yellow-green walls, set off by the sickish lighting of Julie E. Ballard.” Chicago Tribune – Aug., 2008 | By Kerry Reid
“The production values, always high caliber in a Signal Ensemble show, are evidenced by Melania Lancy’s quaint cottage-like set with Else Hiltner’s costume design together with Julie E. Ballard’s lighting and Anthony Ingram’s sound design.” Chicago Critic, 2008 | By Tom Williams
“Julie E. Ballard’s lighting is particularly effective at showing the absurdist horror that underlies seemingly innocent situations.” Centerstage Chicago, 2008 | By Zev Valancy
“The design team – Melania Lacey (set), Julie E. Ballard (lights), Elsa Hiltner (costumes) and sound (Anthony Ingram) – has done impeccable work.” Chicago Sun Times, 2008 | By Hedy Weiss
Fool For Love ~ Signal Ensemble Theatre ~ Directed by Ronan Marra
“Julie E. Ballard’s nimble split-second lighting effects hit every mark mandated by the enigmatic text.” Windy City Media Group | By Mary Shen Barnidge
“Julie E. Ballard’s dusky lighting make it into something intimate, haunting and, most crucially, harder to shake off than other Fools you’ve suffered.” Time Out Chicago | By Chris Piatt
The Weir ~ Signal Ensemble Theatre ~ Directed by Christopher Prentice
“Melania Lancy’s comfortable and comforting bar, warmly lit by Julie E. Ballard, looks and feels genuine.” Daily Herald | By Babara Vitello
Hamlet ~ Signal Ensemble Theatre ~ Directed by Ronan Marra
“Melania Lancy’s foreboding castle, gloomily lit by Julie E. Ballard, makes a perfect backdrop, especially its grand staircases which fight choreographer Kevin Asselin uses so effectively in the sweeping swordfight that concludes the play. Laura M. Dana’s regal period costumes also deserve mention.” Daily Herald | By Babara Vitello