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A real wonder of this savvy production is Darrel Maloney’s simply astonishing projection design which are animated lines in the etch-a-sketch mode. When the characters are in a coffee shop images of tables, baked goods and everything else you would fine in such a setting suddenly appear before they fade away giving you the impression of where the action is taking place.
— Joseph Cervelli
Production designer Neil Patel and projection designer Darrel Maloney have worked together to make creative, nifty choices when leaping from a hotel room to a train to a diner and so on. Moment to moment, those projections (almost a specialty of the Vineyard) and Patel’s sets work beautifully.
— Michael Giltz, Huffington Post
...wonderfully clever scenarios are created with moving projections of white line drawings by Darrel Maloney.
— Linda Winer, Newsday
When you add Neil Patel’s uncomplicated interior set serving as a screen for Darrel Maloney’s clever collection of location-setting pen-and-ink style projections, Checkers often resembles a live-action Herblock cartoon.
— Michael Dale, Broadway World
The space transforms to the various locales indicated in the script both elegantly (thanks to black and white projections from Darrel Maloney)
— Andy Propst, Theatermania
...the ingenious line-drawing projections by Darrel Maloney, which signal changes of scene on Neil Patel’s single set.
— Ben Brantley, NY Times
The production looks very good, thanks to director Terry Kinney and inventive projection designer Darrel Maloney..
— Elisabeth Vincentelli, NY Post
....the play’s collection of short scenes in many locations ...speeds along, aided by Neil Patel’s simple unit set and especially Darrel Maloney’s inventive and witty projections...
— Erik Haagensen, Backstage

American Idiot

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Christine Jones, suggests an epically scaled dive club, its looming walls papered in punk posters and pimpled by television screens, on which frenzied video collages flicker throughout the show. (They’re the witty work of Darrel Maloney.)
— Charles Isherwood, NY Times
Christine Jones’ industrial-style set—dominated by scaffolding and blaring TV monitors—evokes the proper mix of funk and high-tech, suggesting the stimulus overload of the information age that’s engendered by media hype and endless gadgetry. Darrel Maloney’s excellent video and projection design enhances this effect. Kevin Adams’ wondrous lighting design properly imparts a rock-concert garishness.
— Les Spindle, Backstage
Special kudos to Christine Jones for set design and Darrel Maloney for the dazzling video and projection design.
— RJ Donovan, OnStage Boston
...the ingenuity of Darrel Maloney’s video and projection design, which views the workaday world through a surreal lens.
— Charles McNulty, LA Times
Christine Jones’ set is a sky-high unit of punk-poster-papered wall dotted by TVs and hidden windows, with one fire-escape staircase snaking all the way up. Mayer & Co.’s packaging retains a DIY spirit despite technical complexities that include hydraulics, a wire-flying interlude (for Tunny and Christina Sajous’ Extraordinary Girl), Darrel Maloney’s video art, animation, live camera feeds, projected slides and moving images, et al. — to say nothing of Kevin Adams’ go-for-broke lighting design.
— Denis Harvey, Variety
Video designer Darrel Maloney and lighting designer Kevin Adams to create what might be termed a “really big show.”
— Variety


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Director Stafford Arima propels the action against Donyale Werle’s minimal, yet mesmerizing set design of sliding scrims resembling Japanese shoji screens. Against these screens, Howell Binkley’s lighting and Darrel Maloney’s imaginative projection design convey the audience into Sam’s apartment, to the Kimura farm, aboard lumbering passenger trains, behind camp stockades, on the battle field, and as witness to the A-bomb drop on Hiroshima and its aftermath.
— Lynne Friedman, Culture Vulture
Especially effective is Donyale Werle’s set of giant shifting shoji screens, which serve as surfaces for Darrel Maloney’s evocative projections. Together, they not only transport the story from farm to camp to battle front in France, but provide the gateway for entering the play itself. In the initial scene, December 7, 2001, an elderly Sammy (a wistful George Takei) is given a box from his sister who has recently died. When he flips the lid open we see the top of the box imprinted with a colorful version of the dull projected wallpaper of his apartment. The wall lifts and we are drawn as if through the box into Sammy’s memory.
— John Todd, Stage and Cinema
Scenic designer Donyale Werle and projection designer Darrel Maloney share credit for Allegiance’s striking look, taking us from rural Salinas to internment camp barracks to the battlefields of Europe, with scene-setting images projected on Japanese-style sliding paper screens.
— Steven Stanley, Stage Scene LA
Darrel Maloney’s projections —- combined with Howell Binkley’s haunting lighting design —— are often stunning, particularly in the powerful Hiroshima scene, where imagery of the A-bomb glides silently (and subtly) over the bodies of actors while a large photograph of the flattened city seems to melt behind them like a frame of movie film exposed to a flame.
— Pam Kragen, UT Times
Donyale Werle’s wood fence and shoji screen scenic design (aided by Darrel Maloney’s moody projection design) easily morphs into the countless scenes.
— Rob Stevens, Theatermania

Tokio Confidental

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....the virtue of minimalism in the Japanese arts, notably ukiyo-e woodcuts (nicely represented by Darrel Maloney’s projections)...
— Eric Grode, NY Times
...Darrel Maloney’s gorgeous video projections...
— Wayne Hoffman, Capital New York
...Darrel Maloney’s projections are another plus....
— Frank Scheck, NY Post


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The impressive set was designed by Narelle Sissons, with wonderfully imaginative stage projections designed by Darrel Maloney.
— Mal Vincent, Virgina Pilot