MATTHEW MARSHALL LIGHTING DESIGN

“Expertly lit”

Simon Holden, bachtrack.com

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"Lindy Hume director and Zeniodi created clear co-ordination between pit and stage. And with the extraordinary sets and costumes of Tracy Grant Lord and the lighting vision of Matthew Marshall, it was striking teamwork."

Clare Martin, Classical Chromatics

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“Tracy Grant Lord and Matthew Marshall’s designs were a glorious union of stage and art. Movable light boxes allowed characters to disappear and reappear, interlacing the privacy of the Countess’ bedroom with their comings-and-goings.”

Clare Martin, Classical Chromatics

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“Combined with the lighting talents of Matthew Marshall, attendees will truly feel as if they have travelled from dawns early light through to the shadowed veil of the midnight hour across the four acts, The Marriage of Figaro famously taking place over the course of a single day.”

Sarah Kidd, ambientlightblog.com

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"In Act 4 the lightboxes transform into the trees and ominous shadows of a dark nocturnal scene. The imaginative lighting work of Matthew Marshall complements Mozart’s brilliant harmonic conjuring of atmosphere"

fivelines.nz

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“From the outset I was enchanted by the set and its all-encompassing “lit from within” qualities, the constant fluidity and variegation of both parameters and illumination taking us through as much a “journey of the imagination” as a series of spaces wrought with the work’s constant flux of both wilful interaction and judicious concealment in mind.

Tracy Grant Lord’s set and costume designs and Matthew Marshall’s lighting together simply enfolded us in a kind of timelessness about it all, recognisably as much a scenario from 200 years ago as in a large and modern country house, leaving us in the audience to “flesh out” whatever era from that time we could imagine through our own reactions.”

Peter Mechen, middle-c.org

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“in this production of The Marriage of Figaro, the most arresting element is a set of immense vertical lightboxes, metal-framed and moveable. Their styling hints at the gilt and mirrors of pre-Revolutionary France; but their ever-shifting nature, forming and reforming to sketch out bedrooms, gardens.

Having been illuminated throughout by Matthew Marshall’s expert lighting, evoking everything from the warmth of a bedroom through to the marbled cold of night, the lightboxes in this final moment retreat, leaving the Count with nowhere to hide.”

Max Rashbrooke, thepost.co.nz

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“The very look of the production is both solidly functional and visually gorgeous. The set is the best one I’ve seen in any local production. The cast and others spirit the well-designed, sometimes luminous, mobile panels that make up rooms, closet and forbidding walls within the stage area. Their internal lighting is glowingly effective and they can soak up externally placed lights. They create necessary moods. Close to the end of the story they convert what have been polished stately spaces into rough-hewn backstreets to capture the descending mood when characters are searching overturned dustbins.

In terms of lighting, this is an excellent display of theatrical expertise. Often one experiences the set being swallowed up by a big stage with a huge vacant blackness above it. In this opera the large stage is lit to the point that the final scene has an IMAX look about it. Lights are rigged very high while pointing downwards. This produces two large orange tinted light areas that fill and unify the total space. It may well be a question of resources but goodness me what an impact it makes.”

Dave Smith, theatreview.org.nz

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