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Dates:
16/09/2024 to 05/10/2024
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Production photographs
Press quotes
Terror, in fact, is most poignantly conveyed by Marty Langthorne’s lighting choices, the standout feature of this production. The hanging lamp in the kitchen flickers as voices from the past return once more, reflecting the woman’s shaky grip on reality. A blackout is likewise masterfully employed... continue reading
Olivia Hurton, Plays to See 20/09/2024
The interplay of past and present is fluid, and accolades must go to director Chris White (who I think was sitting beside me in the preview performance) for the simple techniques that allow this to happen onstage. I particularly enjoyed the clever use of lighting to signal the protagonist’s slide... continue reading
In the Nose Bleeds 28/07/2024
Eerily lit drawers and food cans add genuinely unsettling touches.
Andrea Cabrera Luna, The Skinny 06/08/2024
Supported by a brilliant sound design (Dan Balfour) and unsettling lighting (Marty Langthorne) we are immediately transported.
Kate Gaul, Theatre Travels 07/08/2024
Marty Langthorne’s inspired lighting and Dan Balfour’s sound design enhance this tense atmosphere brilliantly.
Clare Roderick, Fairy Powered Productions 20/09/2024
Sudden pulsating sounds and changes to the lighting are very effective in evoking a disturbing sense of danger
Keith Mckenna, British Theatre Guide 19/09/2024
This is exemplified by Marty Langthorne’s excellent lighting – lights come from pots, bowls, overhead lamps, and fridges, immersing us simultaneously in both a normal kitchen and an environment of threat. This creative lighting is especially impactful when used in conjunction with Dan Balfour’s... continue reading
Katie Kirkpatrick, Broadway World 19/09/2024
The set design by Pip Terry, and lighting by Marty Langthorne, is clever and stunning - light streaming out of the fridge, drawers, tins and jars - as if the drawers, the recipe and the ingredients hold light, and hold hope.
Beth Bowden, All That Dazzles 19/09/2024
The lighting is particularly striking, not only from the lighting desk but also as part of Nefar’s performance. A standout sequence occurs when she switches between the roles of the woman and her ex-husband, characterised by deft changes in her voice and the repositioning of a small light beneath... continue reading
Harriet Ruggiano, Everything Theatre 20/09/2024
Marty Langthorne’s lighting and Dan Balfour’s sound were almost like characters in the play.
Srabani Sen, London Pub Theatres 22/09/2024
