Images of "Great Scott!" (2016)
taken by Andre Pattenden

Images of "Eye of the Beholder" (2016) taken by David Fisher

"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)

Images of "Terror Season" (2012)
"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)

"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)

"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)

Images of "While The Sun Shines" (2012)
"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)
"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)

"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)

"subtle lighting only enhances the comic focus; the lighting changes delicately inform us of time and place"
TCS, for September in the Rain (2005)