‘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)