“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.”
“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.”
“lighting director Matthew Marshall producing some of the most spectacular and inventive effects that a New Zealand Opera has ever presented”
“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”
MAN WITH THE IRON NECK - LEGS ON THE WALL
"stunning visual design by Joey Ruigrok, Matt Marshall, Emma Vine and Sam James”
THE MISANTHROPE - BELL SHAKESPEARE COMPANY
"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”
“The whole is sharply lit by Matthew Marshall"
”splendidly baroque radiance from Matthew Marshall's lighting.”
”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.”
“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
“The lighting design by Matthew Marshall, Video Design by Craig Wilkinson and Set Design by Josh McIntosh were dynamic and dripping with energy”
“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.”
THE BARBER OF SEVILLE - SEATTLE OPERA
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
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
“the Lighting Design from Matthew Marshall is spectacular”
VELVET - ORGANISED PANDEMONIUM / PETER RIX MANAGEMENT
“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.”
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."
Liza Dezfouli, artshub.com.au
THEODORA - PINCHGUT OPERA
“the divine light – by lighting designer Matthew Marshall – pierced through like the hand of providence”
“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
“Matthew Marshall’s brilliant lighting.”
BILLY ELLIOT - AUCKLAND THEATRE COMPANY
“A special mention must go to the lighting designer Matt Marshall as the lighting effects were notably stunning.”
NEW BREED 2015 - SYDNEY DANCE COMPANY
“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
“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 / SPIRITWORKS
"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"
Ben Neutze, Daily Review
THE SONG WAS WRONG - PERTH THEATRE COMPANY
"Matthew Marshall’s phenomenal lighting design"
Julia Hern, Australian Stage Online
LA CENERENTOLA - NEW ZEALAND OPERA
"The lighting is unobtrusively superb with Rossini's mandatory storm beautifully managed."
John Button, stuff.co.nz
CARESS/ACHE - GRIFFIN THEATRE COMPANY
"Matthew Marshall’s lighting design is sharp"
David Kray, Sydney Arts Guide
IPHIGENIE EN TAURIDE – PINCHGUT OPERA
“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
"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
"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."
A WINTERS TALE - BELL SHAKESPEARE COMPANY
"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"
"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
"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
"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
"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"
LANGUAGE OF LIVING - NEW ZEALAND DANCE COMPANY
"Brave risks were taken with set and lighting design"
Jack Gray, Theatre Review NZ
"Beautiful lighting design"
Raewyn White, Arts On Sunday
Benadette Rae, NZ Herald
ANATOMY OF AN AFTERNOON – SYDNEY FESTIVAL / PERFORMING LINES
"powerful lighting design"
Emily Garrett, Australian Stage
THE RED TREE - BARKING GECKO / PERTH INTERNATIONAL ARTS FESTIVAL
“the lighting design (by Matthew Marshall) was both confronting and poignant, matching the theatricality of the show perfectly”
Rachel Hains-Wesson, Lowdown Magazine
SMOKE & MIRRORS - SYDNEY FESTIVAL / EDINBURGH FRINGE FESTIVAL
“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”
LYING CHEATING BASTARD - SOFT TREAD ENTERPRISES
“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