πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
πŸ“·: Paul T. Kennedy
"The lighting was the best they have had this semester, and the designer Paul Kennedy should be proud. The images that were created and deepened with a simple manipulation of light brought life to the performance. The Job Lady’s solo has a barely-lit stage, but the lack of light brings more to the piece than any amount of brightness could ever do."
Amelia Camurati
The Daily Mississippian

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