Katharine Williams
Epic is overrated. Forty minutes is all you need to make a memorable piece of theatre, as succinctly demonstrated by director Carrie Cracknell in her latest piece, I Am Falling. The atmosphere is intimate, with Katharine Williams’ lighting particula

I Am Falling

I lit this show at The Gate in Notting Hill in 2008. I was nominated for a Knight of Illumination award for my work.

Epic is overrated. Forty minutes is all you need to make a memorable piece of theatre, as succinctly demonstrated by director Carrie Cracknell in her latest piece, I Am Falling. The atmosphere is intimate, with Katharine Williams’ lighting particula

Epic is overrated. Forty minutes is all you need to make a memorable piece of theatre, as succinctly demonstrated by director Carrie Cracknell in her latest piece, I Am Falling. The atmosphere is intimate, with Katharine Williams’ lighting particularly effective. This is a complex reflection on love and its consequences expressed in the most economic terms, and all the better for it.

The Stage

The program described it as “a dance theater collaboration,” a term that under other circumstances borders on the pretentious. In fact, there’s no better way to describe this tiny unclassifiable jewel from a superbly indivisible cast of three and th

The program described it as “a dance theater collaboration,” a term that under other circumstances borders on the pretentious. In fact, there’s no better way to describe this tiny unclassifiable jewel from a superbly indivisible cast of three and their creative team. Unfair though it is to single anyone out, Katharine Williams' startlingly atmospheric lighting was out of all proportion to her economy of means.

Variety

Katharine Williams's stunning lighting and Garance Marneur's clever design give a sense of both a small, old fashioned art film house and a dance studio. The intermittent flickering light and Ed Lewis's scratchy soundtrack accompanying much of the a

Katharine Williams's stunning lighting and Garance Marneur's clever design give a sense of both a small, old fashioned art film house and a dance studio. The intermittent flickering light and Ed Lewis's scratchy soundtrack accompanying much of the action are reminiscent of an early black and white film. The images will stay with you long after the final curtain call. A rare treat..

Theatreworld Magazine

Credit to Edward Lewis's sound, and Katharine Williams's lighting, for whisking us from cliff top to suburban semi in only a bare, black box. But the clincher is Garance Marneur's design that frames the stage like a cinema screen. The techniques tha

Credit to Edward Lewis's sound, and Katharine Williams's lighting, for whisking us from cliff top to suburban semi in only a bare, black box. But the clincher is Garance Marneur's design that frames the stage like a cinema screen. The techniques that bring movement and text into such a happy marriage have been learnt from the art of the film edit.

The Independent

Katharine Williams’ lighting flickers and strobes suggestively The Financial Times

Katharine Williams’ lighting flickers and strobes suggestively

The Financial Times

This exquisite miniature... unfolds on stage like a film and yet is intensely alive even as it deals in the currency of death. Text, motion, lighting and sound often seem to be engaged in their own jostling psychological dance, in which past and pre

This exquisite miniature... unfolds on stage like a film and yet is intensely alive even as it deals in the currency of death. Text, motion, lighting and sound often seem to be engaged in their own jostling psychological dance, in which past and present shimmer and merge on a liberating journey into the light.

The Guardian

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