THE RING CYCLE- OPERA AUSTRALIA 2023
"This futuristic production is full of gorgeous light from designer Matthew Marshall"
"Matthew Marshall’s brilliant lighting"
Jo Litson, limelight-arts.com.au
"alongside Matthew Marshall’s atmospheric lighting and a range of mythologically-informed costumes by Anita Yavich, the overall effect was positive.”
Suzannah Conway, artshub.com.au
"beautifully lit by Matthew Marshall.”
THE MARVELLOUS ELEPHANT MAN - SYDNEY SPIEGELTENT 2023
“The Lighting Design by Matthew Marshall was majestic and engaging. Just beautifully depicted in creating a fantasy style, magical performance.”
Karina Lawrence, dancelife.com.au
COSI FAN TUTTE - NEW ZEALAND OPERA 2023
"Matthew Marshall’s lighting is also a major asset, from flickering cocktail bar silhouettes to his gleaming illumination of the second act’s frolics and follies."
"beautifully lit by Matthew Marshall"
“Matt Marshall’s lighting is digitally precise and well-conceived”
Michael Hooper, theatreview.org.nz
VELVET REWIRED AUSTRALIAN TOUR 22/23 - ORGANISED PANDEMONIUM
“Matthew Marshall's lighting design is perfectly dramatic and lively. It wonderfully creates the nightclub environment that envelops us with excitement and passion. Masterfully designed to complete the mise-en-scene presented and it emphasises the various skills on display.”
“A huge plus in Velvet Rewired is the colourful and creative, mood setting light show, the brainchild of lighting maestro Matthew Marshall.
OIL - BLACK SWAN STATE THEATRE COMPANY 2022
“The lighting design by Matthew Marshall elevates the drama of each scene and is used to impressive and haunting effect in moments where May and Amy recall a waking nightmare of seeing a man on fire.”
Andrew F Peirce, thecurb.com.au
“The set design from the legendary Zoe Atkinson is impressive, through sliding partitions, protections and clever lighting from Matthew Marshall the play has a cinematic feel – it’s telling a big story well.”
“The lighting design by Matthew Marshall elevates the drama of each scene and is used to impressive and haunting effect in moments where May and Amy recall a waking nightmare of seeing a man on fire.”
Andrew F Peirce, thecurb.com.au
“Matthew Marshall’s dramatic lighting and Melanie Robinson’s sound design augment and enhance the atmospheric artistry of every scene.”
GOLDBERG VARIATIONS - WEST AUSTRALIAN BALLET 2022
“The lighting design by Matthew Marshall enhances story, creating atmospheric illusory states interspersed with bold lighting washes to indicate changes in relationships.”
Lucinda Coleman, artshub.com.au
“An ensemble of creatives are always behind the scenes in various capacities, and I applaud the work of Bruce McKinven, Matthew Marshall and their teams for the exquisite production values in this piece”
Courtney Allen, dancelife.com.au
“Lighting Designer Matthew Marshall added manna to the action with cleverly-angled spotlights and defining colour.”
"The simple but striking costume design by Bruce McKinven is highly effective, and the lighting from Matthew Marshal works in perfect unison to create a distinctive world of dominant colours. It’s hard not think of similar works such as Peter Greenaway’s film The Cook, The Thief, His Wife & Her Lover, but it’s a striking look, and it’s greatest achievement is how subtle the many changes in staging were, almost as if they were a slight-of-hand. The combination of visually appealing choreography, simple costuming and clever lighting, alongside the hypnotic effect of Bach’s composition, conjured a meandering oneirophrenia."
Graeme Watson, outinperth.com.au
THE CROWD AND I - AUSTRALIAN CHAMBER ORCHESTRA TOUR 2022
“Director Jamieson has created a superb and thoughtful film and music experience. A clever lighting design amongst and around the performers links them to the on-screen images, making this a complete stage and screen performance. Without this, the orchestra could have seemed to be just a soundtrack to a movie. The show has to be seen live for maximum effect."
EIREBOURNE AUSTRALIAN TOUR - MELLEN EVENTS 2022
“A notable feature of Eireborne was the impressive production values surrounding the excellent performances. The simple attractive setting backed by colourful well-chosen constantly changing LED screens, smart contemporary costuming, remarkably disciplined lighting design, and highly polished performances, together with the gentle understated humour which permeated the show was recognised and rewarded throughout with vociferous applause by the delighted audience.”
Bill Stephens OAM, artsreview.com.au
A WINTERS JOURNEY - MUSICA VIVA TOUR 2022
“In this polished, probing production, directed by Lindy Hume and effectively lit by Matthew Marshall, English tenor Allan Clayton and Australian-born pianist Kate Golla perform Schubert’s songs against a backdrop of images by Williams deftly manipulated by video designer David Bergman.”
“That one finds more commonality that contrast between Williams’ often sparse, bleak landscapes and Winterreiser’s “portrait in landscape” (Hume’s characterisation) is just one surprising effect of this wholly successful (yes!) venture, which apart from the startling talents of British tenor Allan Clayton and Australian pianist Kate Golla showcases the fine work of video designer David Bergman and lighting designer Matt Marshall.”
William Yeoman, limelightmagazine.com.au
MARY STUART - PERFORMING LINES WA / PERTH FESTIVAL 2022
“The calibre of this production is astounding. The sets and lighting are stark yet powerful”
“The play is served perfectly by its music and lighting production”
Mason Rothwell, outinperth.com
PLATINUM, BALLET @ THE QUARRY - WEST AUSTRALIAN BALLET / PERTH FESTIVAL 2022
“Matthew Marshall’s edgy and colourful lighting design pierces through the space”
Isabelle Leclezio, danceaustralia.com.au
“an elegant design by Matthew Marshall”
THE BARBER OF SEVILLE - STATE OPERA OF SOUTH AUSTRALIA 2021
“Director Lindy Hume’s vision of the work derives much from this technicoloured short, with its almost gaudy costumes and highly effective lighting (Tracy Grant Lord and Matthew Marshall respectively)."
Brett Allen-Bayes, limelightmagazine.com.au
“From the moment the orchestra, under the brilliant guidance of Graham Abbott, burst into the overture we knew we were in for a fun night. Rossini’s music is colourful, energetic and demanding, lifting you straight into the spirit of the evening with an accompanying light show worthy of any night out in a disco.”
Adrian Barnes, GlamAdelaide.com.au
NOCTURNA - KABUKI DROP 2021
“beautifully lit”
Rita Clarke, seesawmag.com.au
“The design for the production is simple and striking, from the set design by Bruce McKinven and the use of reflected shapes creating space, enclosing the present and revealing the past. Amplified by Lighting Designer Matthew Marshall creating a sensory; cosmic experience.”
Leigh Andrew Hill, outinperth.com
THE MARRIAGE OF FIGARO - NEW ZEALAND OPERA 2021
“Tracey Grant Lord and Matthew Marshall’s designs were a glorious union of stage and art”
Clare Martin, Classical Chromatics
“Lindy Hume director and Zeniodi created clear co-ordination between pit and stage. And with the extraordinary sets and costumes of Tracey Lord Grant and the lighting vision of Matthew Marshall, it was striking teamwork.”
Clare Martin, Classical Chromatics
“Expertly lit”
WHALE FALL - KABUKI DROP / PERTH FESTIVAL 2021
“Bruce McKinven’s set is highly textural, with nods to the power of nature - especially the sea - with strong atmospheric impact from Matthew Marshall’s strong lighting design”
Kimberley Shaw, stagewhispers.com.au
CHILDREN OF THE SEA - PERFORMING LINES WA / PERTH FESTIVAL 2021
“Matt Marshall’s lighting design is outstanding.”
Kimberley Shaw, stagewhispers.com.au
AS ONE, BALLET AT THE QUARRY - WEST AUSTRALIAN BALLET / PERTH FESTIVAL 2021
“This lighting design by Matthew Marshall subtly uncovers themes of restriction and rebellion and is instrumental in the storytelling.”
Alana Kildea, danceaustralia.com.au
THE OTHER PLACE - FREMANTLE THEATRE COMPANY 2020
“The Other Place truly is a grand way to launch a theatre company – it’s a gutsy show that will remain with the audience long after they’ve left the building. With gritty, powerful performances, evocative set and lighting design, and impressive production values this debut has cemented its place in the Perth theatre scene.”
CARMEN - OPER LEIPZIG 2019
“The lighting design created many special atmospheres and was often strikingly beautiful and significant to the underlying themes”
THE TURN OF THE SCREW - NEW ZEALAND OPERA 2019
“One of the strongest aspects of this production is the set design by Tracey Grant Lord and lighting design by Matthew Marshall.”
"But perhaps the star of the show is the lighting. In such a dark, menacing piece, the right lighting is essential, and here designer Matthew Marshall comes up trumps. Whether it’s the fine lines along the skew-whiff frames, the eerie lights on the dolls’ house, the effects that make characters look like they’re underwater, or the final, unrelenting focus on the Governess’s face, the lighting is (pardon the pun) spot on, and a vital part of a production whose restless energy and macabre tension make it a genuine tour de force.”
THE BARBER OF SEVILLE - NEW ZEALAND OPERA 2019
“This co-production with Opera Queensland and Seattle Opera is the most lavish production you’re likely to see from NZ Opera this year and it will fill your soul with colour. Setting the show alight was the lighting design by Matthew Marshall which glowed on a gorgeous set designed by Tracy Grant Lord. One of the most richly lit productions in Auckland in recent years, it added depth and beauty to the stage. At times it was as if the stage was a collection of jewel boxes glowing with colour.”
Clare Martin, www.radio13.co.nz
“lighting director Matthew Marshall producing some of the most spectacular and inventive effects that a New Zealand Opera has ever presented”
Sarah Kidd, www.ambientlightblog.com
CARMEN - OPER LEIPZIG 2018
“The more traditional set design (Dan Potra) is functional and atmospheric at the same time, with atmospheric density due to Matthew Marshall's sophisticated lighting concept”
Frank Sindermann, brahmsianer.de
MAN WITH THE IRON NECK - LEGS ON THE WALL 2018
"stunning visual design by Joey Ruigrok, Matt Marshall, Emma Vine and Sam James”
Trevor Jones, theconversation.com
THE MISANTHROPE - BELL SHAKESPEARE COMPANY 2018
"The production looks vivid, absolutely glitzy at times”
“With Matthew Marshall’s feast of lighting and Potra’s sleek modern costumes, this Misanthrope thrills all our senses”
Martin Portus, stagewhispers.com.au
“The whole is sharply lit by Matthew Marshall"
ATHALIA - PINCHGUT OPERA 2018
"splendidly baroque radiance from Matthew Marshall's lighting.”
Peter McCallum, Sydney Morning Herald
"Matthew Marshall’s lighting in Act Two Scene One, when the stage is glowing and green to reflect the power of Jehovah and to signify spring, is particularly memorable and astonishing.”
LA BOHEME - OPERA AUSTRALIA 2018
“Matthew Marshall’s magnificent ambient lighting design”
“Designer Dan Potra may well have had huge resources to dress and construct what he did, but resources won’t help if the designer has no taste. Potra has it by the gallon, as obviously does lighting designer Matthew Marshall.”
AMERICAN IDIOT - SHAKE & STIR/QPAC 2017
“The lighting design by Matthew Marshall, Video Design by Craig Wilkinson and Set Design by Josh McIntosh were dynamic and dripping with energy”
Lynette Washington, theclosesline.com.au
“Matthew Marshall’s rich, imaginative lighting”
Mitch Knox, themusic.com.au
“Both the projections and Matthew Marshalls’ outstanding lighting design (which plays an integral role in enhancing the production’s electric vibe) are enormous assets to the show.”
Tim Garratt, theatrepeople.com.au
THE BARBER OF SEVILLE - SEATTLE OPERA 2017
I can’t praise the set without also praising the lighting. Tracy Grant Lord (from Auckland, New Zealand) was the production designer and her lighting partner was Matthew Marshall (Sydney, Australia). Their South Pacific addresses are explained by this Barber being a co-production with Opera Queensland and New Zealand Opera.”
CARMEN - NEW ZEALAND OPERA 2017
Matthew Marshall’s lighting design choices are particularly expressive - the use of shadow and darkness to enhance scenes is quite brilliant.”
Kate Divett backstagechristchurch.nz
“the lighting was phenomenal”
THE RASPUTIN AFFAIR - ENSEMBLE THEATRE 2017
“the Lighting Design from Matthew Marshall is spectacular”
Kevin Jackson, kjtheatrediary.com
VELVET - ORGANISED PANDEMONIUM / PETER RIX MANAGEMENT 2016
“It’s Studio 54 in Civic Park babies… Mathew Marshall‘s lighting direction transports you to the D-Floor and is worth the price of admission alone. He seamlessly highlights the blend of the old and the new, and the on point spotlighting adds pizazz to the already magical vibe of the Aurora Spiegeltent.”
“spectacular lighting”
Jo Litson, The Daily Telegraph Sydney
"The dazzling light show Matthew Marshall had put together heard gasps from the audience"
"Back in the day the owners of Studio 54 famously dumped a four-inch layer of glitter on the floor for a New Year’s Eve party. The Cremorne didn’t have that much, but Matthew Marshall’s lighting design made sure every piece of glitz sparkled like a beacon. His work was undoubtedly the star of the show. Andy Warhol would have loved it."
"wonderfully-lit show"
Liza Dezfouli, artshub.com.au
THEODORA - PINCHGUT OPERA 2016
“the divine light – by lighting designer Matthew Marshall – pierced through like the hand of providence”
Oliver Watts, theconversation.com.au
“The elegant lighting by Matthew Marshall drew the audience into the drama transforming a simple set into a spectacular backdrop.”
Ben Apfelbaum, sydneyartsguide.com.au
CINDERELLA - SAN DIEGO OPERA 2016
“Matthew Marshall’s brilliant lighting.”
BILLY ELLIOT - AUCKLAND THEATRE COMPANY 2016
“A special mention must go to the lighting designer Matt Marshall as the lighting effects were notably stunning.”
Monica Moore, broadwayworld.com
NEW BREED - SYDNEY DANCE COMPANY 2015
“and yet every moment carried something special aided and abetted by Matthew Marshall’s atmospheric and detailed lighting and James Brown’s pulsing ambient, minimalist score”
Clive Paget, Limelight Magazine
“Matthew Marshall's soft blue light made for perfect execution of a performance that exemplifies the best of Australia’s daring, innovative dance talent.”
Bianca Healey, themusic.com.au
THE WHARF REVUE, CELEBRATING 15 YEARS - SYDNEY THEATRE COMPANY 2015
“Lighting (Matthew Marshall) and sound and video (David Bergman) are as carefully designed and coordinated as the timing of the performers themselves”
Carol Wimmer, Stage Whispers
“Lighting design by Matthew Marshall is equally impressive”
Deb Meyer, J Wire
iOTA IN B GIRL - SYDNEY OPERA HOUSE PRESENTS 2015
"Matt Marshall’s stunning lighting"
Jo Litson, Daily Telegraph
"And this is a production which can be literally breathtaking. The sound design is loud but crystal clear, and the lighting is as glorious and overwhelming as you’d expect from any of the biggest rock acts in the world"
THE SONG WAS WRONG - PERTH THEATRE COMPANY 2015
"Matthew Marshall’s phenomenal lighting design"
Julia Hern, Australian Stage Online
LA CENERENTOLA - NEW ZEALAND OPERA 2015
"The lighting is unobtrusively superb with Rossini's mandatory storm beautifully managed."
John Button, stuff.co.nz
CARESS/ACHE - GRIFFIN THEATRE COMPANY 2015
"Matthew Marshall’s lighting design is sharp"
David Kray, Sydney Arts Guide
IPHIGENIE EN TAURIDE – PINCHGUT OPERA 2014
“Pinchgut knocked it out of the park again. Lindy Hume’s direction, Tony Assness’s set, Alistair Trung’s costumes and Matthew Marshall’s lighting were perfectly judged to make virtues of the City Recital Hall’s strict limitations for dramatic presentation.”
Deborah Jones, The Australian
DARK VOYAGER - ENSEMBLE THEATRE 2014
"Lighting by Matthew Marshall is suitably colourful and dynamic. Marshall’s work is sometimes sensitive and sometimes daring, but it is always just right. The tone of the show varies frequently, and the lights are crucial to these emotive and atmospheric transformations."
Suzy Wrong, Suzy Goes See
8 GIGABYTES OF HARDCORE PORNOGRAPHY - GRIFFIN THEATRE / PERTH THEATRE COMPANY 2014
"The staging is enhanced by beautiful ambient lighting designed by Matthew Marshall that creates a feeling of audience participation at times; the house lights stay up for a good long while at the top of the show and fade in and out throughout. In a way, we feel like we're a live studio audience at a talk show where these two poor souls are revealing their dark secrets for our entertainment. Something really gorgeous happens when the shag carpet (implemented by designer Marg Horwell) is lit just so; it turns into some kind of sparkling moon-lit terrain and fits the dream sequence just perfectly."
Cicely Binford, Perth Culture
"Matthew Marshall’s lighting design was smooth, photogenic and exposing."
STEVIEzipper blog
A WINTERS TALE - BELL SHAKESPEARE COMPANY 2014
"the use of shadow play to depict Antigonus's exit 'pursued by a bear' is a delight"
Jason Blake, Sydney Morning Herald
"There is much to like here, from Stephen Curtis’ set, Matthew Marshall’s vibrant lighting"
thespellofwakinghours.blogspot.com.au
"Stephen Curtis’s set design creates this Never Never Land which is only altered in the two acts by Matthew Marshall’s clever lighting design which modifies weather, mood and tone."
Geraldine Worthington, ozbabyboomers.com
DAY ONE, A HOTEL, EVENING - BLACK SWAN STATE THEATRE COMPANY 2013
"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
"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
BETWEEN TWO WAVES - GRIFFIN THEATRE COMPANY 2012
"Matthew Marshall’s stark lighting works symphonically"
Lloyd Bradford Syke, Crikey.com
"Well supported by Matthew Marshall's lighting, Strong deals the play's shuffled scenes with his customary assurance and the drama flows seamlessly"
Jason Blake, Sydney Morning Herald
SEX WITH STRANGERS - SYDNEY THEATRE COMPANY 2012
"the creative team of designer Tracy Grant Lord, lighting designer Matthew Marshall, and composer and sound designer Steve Francis who vividly create Eason's world."
David Kary, sydneyartsguide.com.au
"The transitions are beautifully handled with projections by Matthew Marshall displaying quotes on love and writing by literary luminaries that run across the stage"
Helen Barry, Australian Stage Online
"Sydney Theatre Company muses Cate Blanchett and Andrew Upton have recruited a particularly interesting director in Jocelyn Moorhouse, who’s brought her film background to bear through the medium of designer Tracy Grant Lord and, more particularly, Matthew Marshall, the lighting and projection designer, who’ve created cinematic backdrops that illuminate the outside world by way of the illusion of a forest cloaked in snow and animated quotes from great authors. Sometimes fragments of text spill all over the performers, whose characters are both writers. Anachronistically, it becomes a feature in itself without really intruding or diverting attention away from the main game"
Lloyd Bradford Syke, crikey.com
LANGUAGE OF LIVING - NEW ZEALAND DANCE COMPANY 2012
"Brave risks were taken with set and lighting design"
Jack Gray, Theatre Review NZ
"Beautiful lighting design"
Raewyn White, Arts On Sunday
"Extraordinary lighting"
Benadette Rae, NZ Herald
ANATOMY OF AN AFTERNOON – SYDNEY FESTIVAL / PERFORMING LINES 2011
"powerful lighting design"
Emily Garrett, Australian Stage
THE RED TREE - BARKING GECKO / PERTH INTERNATIONAL ARTS FESTIVAL 2011
“the lighting design (by Matthew Marshall) was both confronting and poignant, matching the theatricality of the show perfectly”
Rachel Hains-Wesson, Lowdown Magazine
TROCADERO DANCE PALACE - SYDNEY FESTIVAL 2011
"This cavernous civic space was artfully re-imagined with some very clever lighting design by Matt Marshall."
Lillian Starr, The Au Review
SMOKE & MIRRORS - SYDNEY FESTIVAL / EDINBURGH FRINGE FESTIVAL 2010
“this is a visually and aurally stunning experience, the whole spectacle is immaculately lit with some of the best technical work to be seen on the Fringe”
Edinburgh Spotlight
“an impeccable score and exceptional lighting.”
Alison Grieve, Edinburgh Festivals Magazine
LYING CHEATING BASTARD - SOFT TREAD ENTERPRISES 2009
“Jo Briscoe’s glitzy casino-edgy apartment set and Matt Marshall’s lighting have transformed the Fitzroy space beyond recognition”
Diana Simmonds, Stage Noise
“The glitzy production and lighting design (Jo Briscoe & Matt Marshall) is just right”
Lloyd Bradford Syke, Australian Stage Online
ABIGAILS PARTY - ENSEMBLE THEATRE SYDNEY 2009
“The design (Graham Maclean) and lighting (Matthew Marshall) is among the best seen at Ensemble in a while”
Diana Simmonds, Stage Noise
CANDIDE - PERTH INTERNATIONAL ARTS FESTIVAL 2006
“a topnotch lighting design by Matthew Marshall...helped make this a Candide to remember”
Neville Cohn, The West Australian