I lit at the Royal Court in London. Ellie Kendrick’s interstellar explosion of a play was an absolute gift to light. From the centre of a black hole, through the light of 100,000 suns to a moment where light showed us particle theory it was both one of the biggest challenges of my career and an absolute joy. It was a welcome reunion with Abbi Greenland and Helen Goalen from RashDash and will always be a memorable process for me.
A woman launches into a speech and has her mic cut off. Another comes on, and has the spotlight moved away from her…
…Both are wiped off the stage, sucked down into the floor, as if by a sinkhole. Seized by the glittering blackness of Katharine Williams’s dynamic lighting, the boards crack open.
The Week In Theatre
The Theatre Upstairs stage is constantly alive with movement, and Katharine Williams’s lighting is dazzling. The six actors – Ronke Adekoluejo, Ebony Bones, Alison Halstead, Rubyyy Jones, Cassie Layton, Eva Magyar – are highly individual while expressing a choric rage.
Michael Billington, The Guardian
Above all the saturation lighting by Katharine Williams – perhaps the finest I’ve seen at the Court Upstairs – is a character in itself. Not just the menacing spotlight, but the nimbus effects, strobes and an active light-show repertoire throughout the sixty-five minutes’ duration.
Fringe Review UK
Katharine Williams’ lighting is glorious, spanning from that sole spotlight that opens the show to floods of light that blind the audience – it literally dazzles.
A Younger Theatre
Katharine Williams’ brilliant lighting design
The Stage
Like the best gig theatre, the production employs not just words but music, song, movement, sound and lighting. There may not be a traditional plot but it never loses momentum across its 65 minutes and, at its best, it is spine-tingling. Its success owes much to the direction by Helen Goalen and Abbi Greenland of RashDash theatre company, specialists in combining words with music and dance for shows that provoke and question.
They are supported by phenomenal lighting design by Katharine Williams and sound design from Emily Legg who create a stunning visual and aural experience across Cécile Trémolières’s set.
BritishTheatre.Com