Ali is a Brooklyn based artist working in the fields of performance art, theatre, and opera. Upcoming and recent designs include Save's The World (The Anthropologists), Glassheart (Everyday Inferno), Skyscraper (Regeneration Theatre), Stranger From Paradise (Opera Omaha), A Burial Place (New Light Theatre Project), Iceman Cometh, Act IV (Target Margin Lab), Material Witness (Spiderwowman Theater), and Now We Start From The Arm (Spotted Deer Productions). In addition to her own designs, Ali works as an Assistant Lighting Designer, a teaching artist for Town Hall and the Resident Lighting Designer for York College. Ali was chosen to attend the Great Plains Theatre Conference as a member of the Design Wing in 2015 and 2017.
Ali received her MFA in Lighting Design from Virginia Tech and her BA in Theatre with a concentration in Design/Management/Technology from Wagner College.
And Then There Were None, BeBold! Productions
"Ali Hall’s lighting design does a marvelous job of making each death a shock, keeping suspense high in this thrilling production of Agatha Christie’s finest work."
- Auriane Desombre, Stage Buddy
Frankenstein, BeBold! Productions
"To do so much with so little space in this classic, but far from modern space, is a testament to creativity and ingenuity. If theatre is a feast of the senses, then the lighting and sound (and beautiful music and score) alone is worth the price of admission. Illusion consultant Max Darwin, Scenic designers Michelle Lynch and Elizabeth Chaney, and Lighting Designer Ali Hall all deserve kudos and some award. Combined they take a relatively small space and give it life, depth, color, emotion and texture..."
- Roger Gonzalez, Local Theatre NY
Boys in the Club, Regeneration Theatre
"Ali Hall’s lighting design helps to inspire the tone, and heartfelt storytelling in the piece."
- Karl Williams, Hi! Drama
Girl With Two Belly Buttons, Capital Fringe Festival
"Another great aspect of the show was the lighting, designed by Ali V. Hall. It was the precise lighting which enabled the characters to not get drowned out by the vast stage. Also, the flashes of extremely bright light added to that under-the-influence feeling..."
- Karim Doumar, DC Metro Theatre Arts
A Fire in Water, Silver Finch Arts Collective
"Alison V. Hall made good use of color washes on the vast back wall of the Lang stage at Atlas to create emotional shifts in the epic work."
- Susan Galbraith, DC Theatre Scene