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Images of "Great Scott!" (2016) taken by Andre Pattenden | |
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Images of "Eye of the Beholder" (2016) taken by David Fisher |
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"The tech is as improvised as the musical and the technicians do a marvellous job at transforming the stage seamlessly, reacting to the location or prevailing mood of the current scene" The Yorker, for The Showstoppers (2013)
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| Images of "Terror Season" (2012) |
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"Special recognition here must go to the sound engineer, who has to perfectly time his purposefully mis-timed sound effects in order to make the jokes work. The work of such crews is often overlooked but here it is a very fundamental part of what makes the show work." Hairline, for Bad Musical (2012)
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"the sound deserves a credit as some of the most smoothly integrated into a production I've ever seen." Remote Goat, for Grimm and Grimmer (2011)
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"Credit also goes to a very gifted lighting operator as he too works hard creating off the cuff lighting states and special effects." Scotsgay, for Showstopper! The Improvised Musical (2011)
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Images of "While The Sun Shines" (2012) |
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"Sound and lighting cues are perfect and tight, yet still managing to create a spontaneous feel at certain points" Fringe Review, for Potted Panto (2010) |
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"Damian Robertson provides a lighting design that carefully builds on the script; the handling of the seance scene is particularly evocative." Fringe Report, for The Shawl (2008) |
"The spectacular use of shifting mirrors and kaleidoscopic lights makes for a visually stunning production" Varsity, for Copenhagen (2007) |
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"This switch between the reality of their conversation and the fantasies Nadia inhabits is adeptly shown through slick lighting changes" Varsity, for Staggered Spaces (2007)
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"subtle lighting only enhances the comic focus; the lighting changes delicately inform us of time and place" TCS, for September in the Rain (2005) |