In The Press:
By D. L. Groover- The Houston Press, The Catastrophic Theatre's Curse Of The Starving Class
"In the play's most stirring and stunning moment, Wesley, naked, carries his lamb across the kitchen and out to be slaughtered. Bathed in J. Mitchell Cronin's iconic lighting, it's a vision ripped from Genesis. You can't miss the obvious, for it's a powerfully theatrical image."
By Katricia Lang- Broadway World, Prague Shakespeare Company's Twelfth Night (at MST)
"The design is incredibly important in that it allows the performers the spotlight, literally in Lighting Designer J. Mitchell Cronin's case, while doing the heavy lifting of making sure the audience was somehow surrounded by verisimilitude without an extravagant set.
"Cronin is indispensable, using his skills to create nighttime, a wooden path, or the inside of a noblewoman's home with what seems like simple elements- brightness, darkness, shadow. He also subtly enhances mood and tone. For example, Cronin pours blue over the set when Viola realizes that Sebastian is lost at sea."
By Joseph Campana- The Houston Chronicle, Main Street Theater's RFK
"Julia Traber and the creative team, especially sound designer Shawn W. St. John and lighting designer J. Mitchell Cronin tackle the problem of presenting history as theater in the age of the History Channel. While Kennedy often speaks intimately to the audience, recounting the past or sharing his fears, he sometimes shifts into declamatory political speech, which was effectively emphasized with spotlighting and echoing tones."
By D. L. Groover- The Houston Press, Main Street Theater's Daddy Long Legs
"The performances are lovely, matched by set designer Liz Freese's immense mahogany bookcase... and J. Mitchell Cronin's gaslit ambiance. It's a Gibson girl's dream."
"Lighting design by J. Mitchell Cronin acted complementary to the songs performed, setting the stage for any mood, emotion, or location the story called for."
"Strindberg was a stickler for design and lighting, and he'd be especially pleased with director Jonathan Harvey's diaphanous vision... The house, exterior and in, is shaded like cobwebs under J. Mitchell Cronin's soft lighting."
By Brett Cullum- Broadway World, Main Street Theater's The Revolutionists
"J. Mitchell Cronin gets to light some dazzling guillotine sequences."
By D. L. Groover- The Houston Press, Main Street Theater's The Last Wife
"The characters may say “sire” and “majesty,” but they're swathed in a '30s glamour thanks to Liz Freese, set; J. Mitchell Cronin, lighting; Macy Lyne, costumes; Yezminne Zepeda, sound."