Press Quotes

The Faction Rep Season (Thebes and Hamlet)

"Chris Withers’ sculptured lighting design cuts up the empty space into an architectural landscape that is both epic and intimate."

        Honour Bayes, The Stage

"Chris Withers’ lighting design merits a mention too, managing as it does to locate the action despite the sparse staging."

        Matt Trueman,

"In this largely empty space, the brilliant work of lighting designers Chris Withers (Hamlet and Thebes) and Matthew Graham (The Robbers) is crucial in carving up the scenes, skillfully offering both shape and atmosphere. Light spills in from offstage, casting interesting shadows, or glows dimly from a single, dangling light bulb. In line with the morbid subject matter, gloomy visual landscapes abound."

        Catherine Love, Exuent Magazine

Robin Hood

"Chris Withers’ energetic lighting design adds much in its use of X-factor style moving lights as they zip from Sherwood Forest to Nottingham Castle while illuminating and dazzling the audience."

        Peter Jolly,

Cleveland Street

“A delightful representation of a Victorian stage, is flatteringly lit by Chris Withers.”

        Oliver Valentine, UK

"From the velvet drapes to the Chez Longue of the Crimson Room, the set is incredibly immersive, coming into its own under the red and purple lighting."

        James Buxton, Extra Extra

December Man

"Nevertheless, all the above is in total opposition with Chris Withers' faultless light design. Also being pinned to equipment of another show, Withers masterfully floods the stage with warming home-light"

        Richard J Thornton, Extra Extra

Love C@t

"The simplistic but symbolic use of light by Chris Withers sets off the text, adding another dimension to the story and building on the moods of Munroe, with a strangely cathartic effect on the audience as they journey with him. The only set is a desk chair and a cardboard box which means that the creation of trees, streets and rooms is left wholly to Kinsler, with Withers washing emotive colours on a screen.”

        Tiffany Stoneman, A Younger Theatre

What’s Wrong with Angry

"With beautifully-lit scenes fluidly flitting between waking drama, imagined nirvana and fitful dreamscapes."

        Josh Winning, QX Magazine

"Another note of praise must go to Chris Withers for his Lighting Design within the production. Given the restraints of the Kings Head, he attempted and succeeds in producing the various atmospheres and locations within the show. This is seen during the nightmare sequences where the use of cold shafts of light break apart the stage and heighten the action."

        Jake Orr, A Younger Theatre