“Peter Rubie’s lighting design is strong, bold and beautiful, but also sensitively encloses some touching moments.”
Kimberley Shaw, Stage Whispers / ONCE The Musical

“Peter Rubie’s lighting introduces a sylvan setting before morphing in parallel with the moods of the music”
Shamistha de Soysa, Limelight / Pinchgut Opera – The Spiritual Forest

“Peter Rubie’s lights are at least as visually impressive. They enhance perfectly every scene that unfolds, sometimes quiet and subtle, sometimes flamboyantly bombastic, but always stylish and surprising. Whether accompanying bodies active or still, Rubie’s work is consistently imaginative, never settling for the obvious. The beauty he delivers is truly sublime.”
Suzy Wrong, Suzy Goes See / A Chorus Line

“Peter Rubie’s lights create dimension – mournful dark, shafts of hopeful light”
Cassie Tongue, The Guardian / ONCE The Musical

‘Hugh O’Connor’s clever and handsome set along with Peter Rubie’s elegant lighting create striking and cinematic visuals and moments’
Kym Vaitieku, Broadway World / ONCE The Musical

‘technically, this production is an atmospheric masterclass in fulfilling directorial vision. The lighting design is superlative as it obfuscates without skulking and completely removes shadows yet paints in black and white tones. The subtle shading with intensity, just glorious’
Reviews by Judith / ONCE The Musical

‘The set design and lighting are similarly superbly done — again, in contrast to Meow Meow bemoaning their inadequacy on stage for comic effect.’
Charlene Li, Performing ArtsHub / Meow Meow’s Pandemonium with the MSO

‘Peter Rubie’s lighting design was enigmatic, mysterious and mesmerising’
Lia Cocks, / Disco Wonderland

‘Charpentier’s canticle for the Nativity, ‘Nuit’ (Night), was a beautifully hushed and moving moment, effectively enhanced by a subtle lighting design by Peter Rubie, flexibly adapted to the changing moods of the music. The festive light globes above the stage added a welcome touch of Christmas cheer’
Michael Halliwell, Australian Book Review / Pinchgut Opera – Messe De Minuit

‘Peter Rubie’s lighting is atmospheric and superbly complements the performance.’
Lynne Lancaster, Performing ArtsHub / ONCE The Musical

‘Inviting the audience to be a part of the world without all the answers but with every suggestion is a perfect way to engage the audience in the creation of this world – of their world. Peter Rubie’s lighting design supported this perfectly and offered moments of lighting perfection that I believe, if you are interested in lighting, warrant seeing the show alone – it’s a complex design so effective it looks simple.’
Carly Fisher, / ONCE The Musical

“Peter Rubie’s lighting is incredibly evocative, particularly noteworthy for its effective role in creating moments of stillness, of contemplation and of pain.”
Tim Garratt, Theatre People / ONCE The Musical

‘Peter Rubie’s lighting design provides a sense of grandeur and polish, for captivating imagery that help elevate the simple tale.’
Suzy Wrong, Suzy Goes See / NED: A New Australian Musical

‘Native Tongue could also, quite possibly, be the most beautifully lit show we see this year; all saturated colour and dark pop noir. The work of lighting designer, Peter Rubie, it adds another abstract kind of depth to the experience. Good lighting can always elevate a performance to another level, no matter how great the source material already is.’
Jessi Lewis, The Melbourne Critique / Mojo Juju Native Tongue

‘While WASO must be commended for their arrangements, the lighting team deserve a special mention too. Not only were the lights fantastic but they really complemented the music and helped to build the right atmosphere for the songs – especially for Black Fingernails, Red Wine – with the orchestra behind it and red lighting, the song was taken to new heights. Ditto for London Bombs.’
Karen Lowe, X-press Mag / Eskimo Joe with WASO

‘a special mention to the lighting designer for some brilliant effects throughout the show.’
Diana Carroll, Performing ArtsHub / Meow Meow’s Pandamonium

‘transcended by the multitude of LED light poles that were placed across the stage and hung from the rafters like stalactites in a cave from which Washington performed. Becoming an integral part of the performance, the lighting conveyed the emotional tone of each song from cascading or pulsing pinks and blues, to the bloom of golds.”
Melanie D Griffiths, Amplify / Megan Washington Album Tour

‘her beautiful hand movements flowed in harmony with the spectacular sound of the West Australian Symphony Orchestra and mesmerising pendant-lit stage.  It was a sensory smorgasbord.’
Mikaela Knight, Musicinsight / Megan Washington Album Tour

‘The concert benefited from excellent design values and superb lighting. It opened with the concert platform swathed in deep blue and purple light. Shimmering lights that changed colour, according to the songs sung, dropped from the ceiling to create an evocative mood.’
Suzannah Conway, Performing ArtsHub / Megan Washington Album Tour

‘Structuring the performers into visually captivating images with the aid of Peter Rubie’s lighting, the message of the beautiful music is enhanced, creating an engaging evening.’
Jade Kops, Broadway World Australia on Handel’s Messiah / Australian Brandenburg Orchestra

the use of lighting, costumes and crowd control is highly effective, adding whole new dimension to a choral warhorse.’
Harriet Cunningham, Sydney Morning Herald on Handel’s Messiah / Australian Brandenburg Orchestra

‘the understated costume designs and atmospheric lighting brought both intimacy and interest to this usually static oratori’
Murray Black, The Australian on on Handel’s Messiah / Australian Brandenburg Orchestra

‘Peter Rubie’s lighting design warrants mention for its subtle but significant impact on mood enhancement.’
Tim Garratt, Theatre People on Lea Salonga In Concert / Sydney Symphony & Michael Cassel Group

‘And a hats-off to whoever designed the setting with tasteful backlighting and candles dotting the stage complemented by hanging lanterns and spotlights.’
Steve Moffatt, The Daily Telegraph on Avi Avital / Australian Brandenburg Orchestra

‘well-judged lighting effects and the steely chill of Winter all find favour…. Imaginative lighting adds to the atmosphere.’
Harriet Cunningham & Martin Duffy, Sydney Morning Herald on Vivaldi Unwired. Max Richter’s recomposed Four Seasons.

‘The kaleidoscopic lighting techniques ranged from spotlights and an initially fascinating dripping effect from the stalactites suspended over the stage, nicely echoing the auditorium orange stalactites, to searchlights and vivid climactic outbursts that reflected the musical content.’
Heather Leviston, Classic Melbourne on Roberto Alagna.

‘it was a superb performance, especially due to the production values. The audio was brilliant,  the lighting precise, cue perfect and excellent use of fixtures without resorting to tacky effects. I have worked in the event industry for 30 years and I was more than impressed with the overall performance and production.’
T. Callaghan, Patron at Kate Miller-Heidke and the Sydney Sympony Orchestra.