Reviews

"The show's designers Eugene Lee…and Paul Rubin have created a musical that for

total success only needs everyone and everything else to keep well out of the way."

Clive Barnes – N.Y. Post (Wicked)

"...and the flying effects directed by Paul Rubin represent the true work of imagination

here…complemented by the beautiful female vampires who fly in and out or hang

on ladders in scanty white clothing."

Steven Oxman – Variety (Dracula)

"The dizzyingly beautiful air acrobatics, designed by Paul Rubin, is a precision show

we have never seen the likes of on the Norwegian stage. And the airy pas-de deux

between Peter and Wendy becomes the poetic climax- soft, weightless and graceful."

Norwegian Times - Oslo Norway (Peter Pan)

“The first name in flying design is Paul Rubin,” Dotson says. “He has made quite a

niche for himself as the industry’s flying design expert. The flying sequence is by far

the most exciting in the production.

Urban Tulsa Weekly - Dotson (Seussical)

"The flying sequences, skillfully choreographed by Paul Rubin , are spectacular. 

Hard-to-stage moments — such as Ariel’s transformation from mermaid to human — are made not only possible, but believable through Rubin’s work."

Dustin K. Britt - Triangle Arts and Entertainment (The Little Mermaid)

"Having seen Peter Pan the night before and realizing what Tuacahn has to offer, I have to say that Tarzan still exceeded my expectations when it came to design and spectacle. Anticipating another night of intricate fly sequences, choreographed by Paul Rubin, I was pleased to see that they were fairly different from that of Peter Pan. While the flying in Peter Pan seemed to be in gliding, horizontal motions, in Tarzan it was more vertical and jolting. This contrast, accompanied by skilled aerial acrobatics, made the show that much more interesting."

Tara Nicole Hass – Tuacahn (Tarzan)

 

"…she doesn’t just fly, with the help of designer Paul Rubin, she swoops and loops

and levitates and careens, often at a pace just beneath that which would produce a

sonic boom."

Kevin Nance - Chicago Sun Times (Cathy Rigby is Peter Pan)

"Most notably Paul Rubin was brought in to give flight to Rigby and others who now

cavort upward as well as side to side."

Potomac Stages – (Seussical)

"Easily the stage production's highlight is the recreation of the famous swimming

sequence. With some absolutely stunning wire-work, Kaye and the Creature seem to

swim through the air. It's not just an impressive physical effect; their gestures and

body movement give a convincing impression of the momentum of swimming

through water."

Steve Biodrowski – Hollywood Gothique (Creature from the Black Lagoon)

"And with the assistance of Flying Choreographer Paul Rubin the aerial sequences

exude both a sense of grace and naturalism that will linger in the mind’s eye long

after the final, spectacular curtain call flyover."

Christopher Comte – Aisle Say Seattle (Cathy Rigby is Peter Pan)

"Director of flying Paul Rubin deserves a bow of his own."

David Cuthbert – New Orleans Times (Seussical)

"Rigby’s flying skills (deftly designed by Paul Rubin) are a marvel."

Joel Hirschhorn – Variety (Cathy Rigby is Peter Pan)

"…production values are above average for a bus-and-truck property—particularly

Tom Ruzika’s lighting and Paul Rubin's wondrous aerial effects."

Les Spindle - Backstage.com (Camelot)

"Paul Rubin’s applause-inciting aerial sequences are certainly the top draw for this

summertime treat, in which Glinda and the flying monkeys receive their fair share

of airborne competition form the likes of Dorothy, Miss Gulch (with bicycle in tow)

and the Wicked Witch."

Russell Florence, Jr. - Dayton City Paper (Wizard of Oz)

"And a special nod goes to Paul Rubin, who designed and participates in the process

that sends Rigby flying all over the stage and into the audience every night."

Evans O’Donnell – The Tennessean (Cathy Rigby is Peter Pan)

"Rubin also takes delight in touring events that allow him to demonstrate the flying

for kids. While in Boston, he was able to give a presentation for underprivileged

children with special needs, and one of the girls he helped "fly" had been in a

wheelchair her entire life. "She was maybe 8 or 9, and as she floated out of her

chair, she just screamed, giggled, and carried on like a little kid in a candy store,"

Rubin says. "Her first words, as she flew across the stage were, 'Mommy, now I know what it's like

to be free.' Cathy and I were just in tears. It was the most beautiful thing I'd heard.

And I am so grateful that I get to be part of bringing that kind of joy to people."

Boston Globe