Press

​They are attractive performances but the show really finds its theatrical life when they turn the struts of Hayley Grindle’s attic set into a climbing frame and stand silhouetted against the strip lights concealed by lighting designer Charly Dunford. Grief might be no friend of drama, but in moments like these, it is not bad for visual poetry. 

- The Guardian  ★ ★ ★ ★

Grindle is willing to take advantage of negative space and the height available in Traverse 1, which really allows Charly Dunford's lighting to (forgive the pun) shine. As well as having the scaffolding on the house light up in neon, Dunford also has it cast great shadows throughout the space, allowing the attic and its contents to loom as large for the audience as it clearly does for the characters.

- Blood Harmony, What's On Stage 

★ ★ ★ ★

When grief, fear and regret get too much for the characters, their emotions find expression in song. Charly Dunford’s inventive lighting also helps amplify such moments. -The Stage

A special mention for the lighting design by Charly Dunford – the light is used as a metaphor for ‘home’ and how it chases away dark and loneliness. The different kinds of light – bare lamps, strip lights and overall washes are all so precise – an essential, integral part of the whole performance. - Musical Theatre Review

​Quite often numbers are word intense, but there remains a gorgeous melody that carries throughout – especially when paired with the pulsating magic of Charly Dunford’s lighting.- Reviews Hub 

Charly Dunford’s lighting snaps in and out of white spotlights that encase the characters in cage-like shafts, the violent threat of homophobia cutting through the neon and colour of Lola’s world.

- Kinky Boots, What’s On Stage

★ ★ ★ ★

Neil Bettles works his usual mighty theatre magic on the whole piece, transforming Lewis's performance into a symphony of eloquent language and movement brilliantly lit by Charly Dunford, and backed by a magnificent continuous score by Bettles with Matthew Churcher’

Peak Stuff, The Scotsman

★ ★ ★ ★

‘Peak Stuff, by young writer Billie Collins fairly fizzes along with new ideas and brilliant acting not to mention superb lighting and set and spectacular video design’ North West End

Charly Dunford’s sharp lighting scheme and Tripledot Makers inventive video projections combine to create and abstract take on a Atar Trek holodeck. Watch out in particular for the sublime transitions between scene and character. Additionally, a cleverly illuminated rim around the rectangular Dias containing and focusing Lewis’ performance comes alive with colour cues and pulses not unlike and Alexa unit. It’s a potent mood setter and a palpable symbol of the consumerist culture being examined.’ The Quintessential Review