‘dazzling light show’
John Shand, Sydney Morning Herald on
iOTA - Young, Hard & Solo for Sydney Festival - January 2012
'powerfull lighting
design'
Emily
Garrett, Australian Stage on Anatomy of an
Afternoon for Sydney Festival - January
2012
'The design team of James Browne (set
and costumes) and Matthew Marshall (lighting) contribute greatly to the
witty images throughout'
Veronica Hannon, SX News -
Sydney December 2011
'technically
dazzling'
Diana
Simmonds, Stage Noise on The Wharf Revue Debt Defying Acts - Sydney
November 2011
‘And getting
very serious, this production is magnificent. The action is fast-paced
with great timing throughout, in a circus-tent set which incorporates
its own lighting, sound and visual media, reminding me of the amazing
Famous Spiegeltent’
Frank McKone, Canberra Critics Circle
on The Wharf Revue Debt Defying Acts - Canberra October 2011
'Matthew Marshall's
imaginative lighting design did much to enhance the evening.'
Neville
Cohn on David Hobson & Teddy Tahu Rhodes in Concert - Perth
November 2011
‘credit is particularly due to Matthew Marshall and Peter Dawson
– on lighting and sound design duties, respectively – their
minimal palette and subtle flourishes adding an incredible extra
dimension to the production, so that at times it’s hard to
believe you’re watching theatre: it feels more like a dreamlike
film or an engrossing novel, something far more elusive than objects on
a stage’
Lyndon Blue, Cool Perth Nights on
Tender Napalm, Perth August 2011
‘Claude Marcos and Matthew Marshall manage the tricky stage and
lighting design of the traverse to great effect’
David Zampatti, The West Australian on
Tender Napalm, Perth August 2011
‘Melissa Cantwell's confident direction is matched by evocative
lighting and sound (Matthew Marshall and Peter Dawson
respectively’
Victoria Laurie, The Australian on
Tender Napalm, Perth August 2011
‘Matthew Marshall’s realistic bathroom lights were bright
enough to illuminate the audience on each side of the stage. Rather
than this making the audience feel awkward during the more
uncomfortable and violent monologues, it allowed them to appreciate the
bravery of the performers and share the vehement and provocative
humour. However, the tasteful semi-dimmed light when the actors were
naked produced a sensitive, private atmosphere and temporarily
reprieved the audience’
Courtney J. Pascoe, Aussie Theatre on
Tender Napalm, Perth August 2011
‘an
excellent lighting design from Matthew Marshall’
Theatre Australia on Tender Napalm,
Perth August 2011
‘It's the music, together with the strong, sometimes in-your-face
(literally) lighting design (by Matthew Marshall), the inventive,
surprise-filled set and a flame-haired Ella Hetherington's endearing
and elastic performance as The Girl that convey the story of
loneliness, isolation and childlike curiosity’
Mark Naglazas, The West Australian on
The Red Tree, Perth July 2011
'the
lighting design (by Matthew Marshall) was both confronting and
poignant, matching the theatricality of the show perfectly’
Rachel Hains-Wesson, Lowdown Magazine on The Red Tree, Perth July 2011
‘Complete with a beautiful set design by Jacob Nash and costumes
by Rita Carmody, accompanying sound design by Jeremy Silver and
Lighting Design by Matthew Marshall, this is a handsome
production’
Augusta Supple on Rainbows End, Sydney May 2011
'It's a beautiful production to look at. Caitlin Ryan's clean, clear
design, accurately lit by Matthew Marshall, is a fine example of how
judicious placement of a few shapes and objects can effectively fill a
large neutral space. It should be a model for future productions in the
studio'
David Zampatti, The West Australian on
The Ugly One, Perth March 2011
‘the whole spectacle is immaculately lit with some of the best
technical work to be soon on the Fringe’
Edinburgh Spotlight on Smoke & Mirrors - Edinburgh August 2010
'it is refreshing indeed to come across a show that manages to
surprise, amaze and woo its audience by using old-fashioned talent and
techniques enhanced with a unique narrative, unrivalled physicality, an
impeccable score and exceptional lighting.’
Alison Grieve, Edinburgh Festivals Magazine on Smoke & Mirrors -
Edinburgh August 2010
‘Oz Opera’s stunning new production of Verdi’s
masterpiece is certainly the finest operatic staging seen in Hobart in
many a year, graced by production design and lighting that creates a
sense of space and atmosphere’
Peter Donnelly, Hobart Mercury on La Traviata - Hobart July 2010
'sympathetically
and imaginatively lit by Matthew Marshall'
Diana
Simmonds, Stage Noise on Rainbows End - Sydney August 2009
(lighting design)
'Jo
Briscoe's
glitzy casino-edgy apartment set and Matt Marshall's lighting have
transformed the Fitzroy space beyond recognition''
Diana
Simmonds, Stage Noise on Lying Cheating Bastard - Sydney July 2009
(lighting design)
'Graham Maclean's
stage design is simple yet beautiful, evoking Noosa with whites and
blues reminiscent of summer, sunshine and deep blue sea. The light
(designed by Matthew Marshall who looks like he should be on stage)
coming through an opaque pane with shady leaf shapes adds to this calm,
serene holiday feeling with the lure of an easy, laid-back life.'
Elisabeth
Meister, ArtsHub on Let The Sunshine - Sydney May 2009 (lighting design)
'Williamson
has not lost his touch with comedy or ear for human and societal
foibles. He's well served by the cast and creatives (set Graham
Maclean, lighting Matthew Marshall)'
Diana
Simmonds on Let The Sunshine - Sydney May 2009 (lighting design)
'The design (Graham
Maclean) and lighting (Matthew Marshall) is among the best seen at
ensemble in a while'
Diana
Simmonds on Abigails Party - Sydney March 2009 (lighting design)
'director Patrick
Nolan, with Mic Gruchy, Matthew Marshall and Bryan Woltjen, created an
appealing softly lit space, a perfect match for the pared back drama of
the work'
The
Australian on A Flowering Tree - Perth March 2009 (lighting design)
'the lighting by
Matthew Marshall is crazy and controlled by turns and expertly shows a
world gone mad'
Arts
Hub on The Red Shoes - Perth October 2008 (lighting design)
'Matthew Marshall's
elegantly symmetrical lighting a near-perfect compliment'
Australian
Stage Online on Shakespear's R&J - Sydney August 2008 (lighting
design)
'Black Swan's
production team excels in the wordless tableau in which doomed
prisoners are forced to parade in grotesque hats'
The
Australian on Far Away - Perth August 2008 (lighting design)
'The lighting was
fabulous - my congratulations to the designer, very tight, evocative
and just right'
Theatre
Australia on Life x3 - Perth August 2007 (lighting design)
'The intimate space
was masterfully lit by Matthew Marshall, utilising stark contrast and
dramatic shadows'
A-Press
on St Nicholas - Perth July 2007 (lighting design)
'It is a Gothic
tale, enhanced by Matthew Marshall's lighting and Melissa Cantwell's
direction'
The
West Australian on St Nicholas - Perth July 2007 (lighting design)
'design by Nicholas
Dare and lighting by Matthew Marshall is simple but striking'
SX
News on The Emperor of Sydney - Sydney August 2006 (lighting design)
'director, David
Berthold, and his design team have created simple but effective
solutions to suggest material splendour in the intimate Stables space'
Sydney
Morning Herald on The Emperor of Sydney - Sydney August 2006 (lighting
design)
'effective lighting
design by Matthew Marshall helped the drama along'
State
of the Arts on Candide - Perth February 2006 (lighting design)
'a topnotch
lighting design by Matthew Marshall...helped make this a Candide to
remember'
The
West Australian on Candide - Perth February 2006 (lighting design)
'Matthew Marshall's
lights and Nicholas Dare's set are striking and attractive'
Sydney
Morning Herald on The Marvellous Boy - Sydney October 2005 (lighting
design)
'...lights and
video (Matthew Marshall) give a strong, fluid platform for the
performers to collapse, collide and consummate their various texts.'
Sydney
Morning Herald on Slamming - Sydney January 2005 (lighting & video
design)
'the lighting
design (Matthew Marshall) offers a barometer-like reading of warm and
cold emotional fronts, at times each character bathed in separate hues
according to their individual journey.''
Sydney
Morning Herald on The Woman With Dogs Eyes - Sydney October 2004
(lighting design)
'the opening
moments of this production are stunning'
The
Post Newspaper on Merry Go Round in the Sea - Perth July 2003 (lighting
design)
'It’s the kind if device that gives the play the imaginative
power of a film, though it is wisely not over-used'
The
West Australian on The Reader – July 2003 (video design)
'effectively the whole theatre – whilst simple – has a
couple of brilliant lateral thinking ideas and the whole effect is set
off by Matthew Marshall’s lighting'
Theatre
Australian on Six Characters Looking For An Author – June 2003
(lighting design)
'the festival production of Wagner’s Gotterdammerung must surely
be one of the most awesomely impressive offerings ever mounted in the
city…stunning visual imagery'
The
West Australian on Gotterdammerung – Feb 2003 (lighting design)
‘in visual terms, this production…is a delight, Matthew
Marshall’s lighting design adds significantly to the theatrical
mix… this was a production diverting in its look…’
The
West Australian on Alcina – Perth, November 2002 (lighting design)
‘immersed in dim light, from the beginning they (the creative
team) create an intimate atmosphere’
Die
Tageszeitung on Mamu – Germany, August 2002 (video & lighting
design (germany season)
‘extremely clever and deeply moving mixture of ritual and rock
music, narrations and impressive films’
Hamburger
Abendblatt on Mamu – Germany, August 2002 (video & lighting
design (germany season)
‘an interesting and colourful concept… the performance
area looked great’
Theatre
People on And The World Goes Round – Melbourne, July 2002
(lighting design)