Design legitimizes our experience. It endorses our subjective reality. For a precious few hours, design lets the world as we wish it override the world as it is; it makes our dreams and feelings more powerful than documentary evidence — or, rather, it provides documentary evidence of our feelings and dreams. And when our emotional experiences count for more than objective reality, haven’t we won? Isn’t that what art is?

Joshua Langman is a theatrical lighting, sound, and projection designer based in New York. He teaches theatrical design at Talent Unlimited High School and has lectured and facilitated workshops on design at Carnegie Hall and other venues. Joshua has worked as a designer with Ensemble Studio Theatre, the Castillo Theatre, Teátrica, Brooklyn Gypsies, The 52nd Street Project, the Jim Henson Foundation, Cidny Bullens, the Between the Seas festival, West of 10th, Worry Noise Dirt Heat, and more. He has a specialty in design for devised work and solo performance. Joshua has provided one-on-one instruction in design and media programming.  As a beta-tester for QLab 3 and 4, he suggested many features and design choices that made it into the software. Joshua has a master’s in educational theatre from the City College of New York and a bachelor’s from Sarah Lawrence College. He is a company member of Electric Eye Ensemble. Joshua is also a writer, director, and typographic designer.

JL’s theatrical design résumé

Contact JL

JL’s other websites and résumés

Production credits

Lighting design reviews:

“Lighting designer Josh Langman’s work is highly accomplished in producing striking images when needed and subtle when required […] Lighting, sound and music are all utilized to great effect so that it is all visually quite stunning.”
— Darryl Reilly, TheaterScene.net (EST)

“A couple [of scenes] are written in ‘split-screen’ fashion (lighting designer Joshua Langman makes fine use of rapid-fire cross-fades) […]”
— Matthew Murray, Talkin’ Broadway (Lonely, I’m Not)

“The minimalist set […] and simple lighting by Joshua Langman help to break up the playing space and suggest differences in the various settings.”
— Helen Herbert, Theatre Is Easy (Lonely, I’m Not)

“Joshua Langman’s lighting design complemented the set and the action superbly.”
— Jacquelyn Claire, NY Theatre Guide (Lonely, I’m Not)

“Josh Langman’s lighting includes a lovely display of stars […]”
— David Barbour, Lighting & Sound America (EST)

“The simple lighting and direction […] lets it glide along, and if by the end you have a few tears in your eyes, well, you’re not the only one.”
— Mateo Moreno, The Artswire Weekly (EST)

It’s their time to talk and to see the stars (powerfully brought to a ceiling near you by lighting designer Josh Langman).”
— Ed Malin, nytheater now (EST)

“The set, the lighting and direction […] were all smartly done.”
Times Square Chronicles
 (EST)

Projection design reviews:

“The multimedia design — which [Cidny] Bullens put together with Joshua Langman — anchors the piece with home movies and family photos.”
— Amy Stumpfl, The Tennessean (Somewhere Between)

The projections also proved to be indispensable and very well-chosen to illustrate the journey and broaden the play’s images, while retaining the aesthetic.”
— Antonio Bones, La voz hispana [original in Spanish] (Yoleros)

“The addition of projection is of great importance in suggesting the figurative message. ‘The video projections have been a great visual tool for conveying the second act of the work, which develops on the ocean. They were designed from a point of view that contrasts the world of the yoleros, or the dimension of these people inside a small boat, against a sea without limits, strong and uncontrollable but at the same time seductive,’ explained [director Martín] Balmaceda.”
— Antonio Bones, La voz hispana [original in Spanish] (Yoleros)