“The lighting is also arresting. Shane Rowse's moody, suggestive colors and complex cues provide much-needed texture and nuance to a minimalist set.”

-       Cook, Liz. “The Met’s ‘Ragtime’: minimal sets, maximum feeling.” The Pitch. 04 June 2013.

“…Shane Rowse’s lighting, nuanced and precise…”

-        Trussell, Robert. “Horses, gods and dreams collide in Living Room’s production of ‘Equus’”. The Kansas City Star.15 March 2015.

“Making a particularly potent contribution is Shane Rowse’s lighting design, which is by turns vivid and nuanced.”

-        Trussell, Robert. “‘Fiddler’ works its will in thoughtful Spinning Tree production”.  The Kansas City Star. April, 2015; retrieved from, 11 June 2015.

“Perhaps the most important contribution comes from Shane Rowse, whose lighting design cloaks the stage in modulated gloom — just dark enough to create a credible sense of the macabre.”

-        Trussell, Robert. “Spinning Tree Theatre’s ‘Turn of the Screw’ is frightfully good”.  The Kansas City Star. 20 October 2015.

“Shane Rowse’s lighting, from the soft candle glow of a romantic evening to the brightness brought to a harsher scene, adds dimension to the story’s telling. … KCAT has given this classic play, with its many themes and complicated characters, a staging of clarity and note.”

-       Hirsch, Deborah. “KCAT takes control of A Streetcar Named Desire.” The Pitch. 13 September 2016.

“(A brief, glowing aside: the lighting design is great! Shane Rowse does exceptional work here, coating the set in the stark blues and stretching purple shadows of a moonlit night. His look for the end of the play is just as striking: rosy morning light dips the Hogan’s dilapidated cottage in cold romance.)”

-        Cook, Liz. “On the Kansas City Actors Theatre’s troubling (and troubled) production of ‘A Moon for the Misbegotten’.” The Pitch. 20 September 2018.