MATTHEW MARSHALL LIGHTING DESIGN

“There is a distinct film noir feel to this production, which can be found in the absolutely stunning lighting by Matthew Marshall”

Cicely Binford, aussietheatre.com

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"complemented by Matthew Marshall’s clever lighting, reminiscent of whodunit films in its use of shadows”

Carol Flavell Neist artshub.com.au

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“The lighting was perfectly timed to the highly dramatic style of music"

Gordon The Optom, theatreaustralia.com

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“A special mention for the set designer (Tracy Grant Lord) and lighting designer (Matthew Marshall), who make what appears at first glance to be a dingy brown brick set work equally well as a hotel room, office, cafe, or street scape. It's funny how a shift in the lighting can completely transform the mood of the same set you have been looking at all evening.”

Greg Letts, perthwalkabout.com 

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“It’s hard to imagine a set of greater assistance to the telling of a story – not just it’s themes, or it’s moods, but the narrative itself – than Grant Lord’s massive, complex revolve of bedrooms and lounge rooms, corridors and cafés that spins through the play’s 90-odd minutes. Its curves and surfaces – all clad in those thin, glossy, mission brown bricks much used in motels of a certain vintage and purpose – are a godsend for lighting designer Matthew Marshall, and he goes to town on them, creating a genuinely witty, mock noir feel for the show.

David Zampatti, The West Australian

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“Grant Lord has left the inner workings of the set exposed – the audience can see the back of the flats – successfully creating a gritty film noir reference; dark brickwork, light through open windows, bleak colours. Matthew Marshall compliments the set with his lighting design.

Anna Locke, australianstageonline

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