"Christopher Mattaliano, the director of the premiere production, has refurbished that staging, which used filmed images projected on scrims and screens. This revival uses richly detailed video and other innovations." (New York Times)

"Jerome Sirlin creates settings with cinematic projections against an array of hanging panels. Macbeth is gripped by a vision, and so are we. Later, we're treated to castle walls that bleed, and a Birnam Wood that literally attacks us." (The Opera Critic)

"When you think it is all over, you come into this next chamber [of Hershey’s Chocolate World Tour] that uses projections that Jerome Sirlin designed. We brought him in to bring a fresh look, a fresh approach to things, and he really came through for us." (The Flavor of Fun, Live Design interview with Gary Goddard)

"The Freedom Rising show at the National Constitution Center in Philadelphia, powerfully transforms the Constitution into a personally relevant force. The fast paced, multi-media show combines 360 degree video projection, surprising theatrical scenic projections and designs (by Jerome Sirlin), and a live narrator."

"What Ever Happened to Baby Jane’s design elements are mouthwatering. Scenic Designer Jerome Sirlin truly has designed a magnificent set… and scenic projection effects that are dazzling." (The Houston Chronicle)

"In the annals of modern stagecraft Austin Lyric Opera’s production of Leonard Bernstein’s Candide seems destined for legendary status—sheer visual dazzlement." (The San Antonio Express)

"The sets in Candide are like electrified black-velvet paintings — beautiful, evocative, often humorous, articulating the stream of Voltaire’s globe-hopping story.” (Austin American Statesman)

“The Ghosts Of Versailles director and designer Jerome Sirlin created sets, projected scenography and lighting effects that convey the history (and subplots) of the French revolution in brilliant fashion”. (Die Welt, Germany)

“For this European premiere of John Corigliano’s Ghosts Of Versailles stage director/ designer Jerome Sirlin creates the grandest effects—a production colorful enough to honor any Rossini opera”. (Der Tagesspiegel, Berlin)

Cirque Ingenieux is ravishingly beautiful to look at. Painterly, color saturated tableaus dissolve into one another with intoxicating fluidity.” (The Dallas Morning News)

“Jerome Sirlin, designer and magician of special effects, created a visual and technical system for Salgari which couldn’t be any more original, exotic, rich and fantastic.” (Unita, Italy)

“The beautiful visions in Salgari are created by the fantastic imagination of Jerome Sirlin, a post-modern magic lantern genie. This production is closer to a film than a ballet.” (Danza, Italy)

“Sirlin invented a brilliant three dimensional dreamscape for Marilyn, creating cinematic illusion—like putting live actors into a movie. Operatic design may never be the same again.” (Time)

“The scenery by Jerome Sirlin (Jack’s Holiday), whose evocative images of 1891 New York, from his own skillful drawings, proves the ideal way of conveying kaleidoscopically changing locations with speed, economy, and consummate elegance.” (New York Magazine)

“Sumptuous scenic designs and film projections of Kiss Of The Spider Woman transform the two-tiered prison world of grey bars to Amazon jungles or a gigantic spider’s web in a startling trice.” (The London Evening Standard)

“Using light, collage and photo montage, Jerome Sirlin evokes a magic universe in Hydrogen Jukebox — and it’s even low budget! The images are ingenious, beautiful and powerful and the technical expertise they show is astonishing.” (The New York Times)

“The look of Hydrogen Jukebox is dazzling. For Mr. Sirlin one hopes only that he gets continued opportunity to dazzle and enlighten us.” (The New York Times)

“The real stamp of individuality on this Ring Cycle comes from Jerome Sirlin and his scenic effects. Sirlin created a stage full of visually stunning images that harmonized entirely with the spirit of the plot.” (Opera)

“Set designer Jerome Sirlin created technically dazzling three-dimensional effects for Siegfried that imperceptibly transformed the stage picture from one moment to the next.” (Opera News)

“Sirlin is a dazzling visual stylist whose fluid use of projections and built sets for 1000 Airplanes On The Roof, annihilates space and time and gives his productions an exhilarating sense of visual freedom.” (Time)

“Sirlin has created a visual libretto, an analogue to the script of 1000 Airplanes On The Roof.” (The Washington Post)

“Jerome Sirlin’s scenic designs for Die Valkure were a total triumph — nothing less than extraordinary and a benchmark against which future Wagner productions will be measured.” (The Toronto Globe & Mail)