Press

‘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.’

Aided by an exceptional lighting design by Peter Rubie, the stage is used well to create a sense of different scenes.

Peter Rubie’s lighting design offered moments of lighting perfection that I believe, if you are interested in lighting, warrant seeing the show alone.

‘the understated costume designs and atmospheric lighting brought both intimacy and interest to this usually static oratori’

Peter Rubie’s lights are imaginative and ambitious, offering a delectable palette of luminal combinations that really helps to keep things exciting.

Peter Rubie’s lighting is atmospheric and superbly complements the performance.

‘Peter Rubie’s lighting design warrants mention for its subtle but significant impact on mood enhancement.’

“Peter Rubie’s lighting design is strong, bold and beautiful, but also sensitively encloses some touching moments.”

“With predominant hues of reds, purples and blues, Peter Rubie’s lighting design created a visual spectacular with all the hallmarks of a premium event”

Peter Rubie’s lighting design was elegant and detailed.

‘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’

Lighting design (by Peter Rubie) was fantastic and created such a wonderful atmosphere, skillfully weaving scenes together, with hints of original lighting concept with a fresh take on the work.

‘Peter Rubie’s lighting design provides a sense of grandeur and polish, for captivating imagery that help elevate the simple tale.’

The lighting by Peter Rubie, which struck me as representing “moonbeams”, is another standout feature.

Peter Rubie’s lights crisscross to create moments of intimacy, while the masterful shrouding of actors until they’re illuminated to audiences creates depth and dimension.

‘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.’

Peter Rubie’s lighting design works to highlight the shapes in space, creating patterns as the chords criss-cross each other.

The lighting design, by Peter Rubie was also a notable contribution to the epic atmosphere and dramatic environment of the show.

“Everything about this production hits the mark. Director, Richard Carroll, Movement Director, Amy Campbell, Musical Director, Victoria Falconer and Lighting Designer, Peter Rubie have created a production which is tight and imaginative… transitions occur through Rubie’s masterful changing pools of light in different areas of the stage, fading one set of actors in and another set out.”

‘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.’

‘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’

‘a special mention to the lighting designer for some brilliant effects throughout the show.’

‘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.’

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.

“The lighting design by Peter Rubie works beautifully in conjunction with Carroll’s direction, heightening an already exceptional experience.”

‘And a hats-off to whoever designed the setting with tasteful backlighting and candles dotting the stage complemented by hanging lanterns and spotlights.’

‘the use of lighting, costumes and crowd control is highly effective, adding whole new dimension to a choral warhorse.’

Lighting by Peter Rubie ensures the darkness balances perfectly with the light and really brings the whole show to life.

Peter Rubie’s lighting is the emotional crutch of the performance, drawing the audience in deeper and serving as a nuanced storyteller.

From the musical director, Damon Wade to lighting designer Peter Rubie, the show sizzled from the get go. The lighting, in particular, both illuminated and reflected the dancers as they moved in front of the mirror baring their souls with every step.

‘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.”

‘Peter Rubie’s lighting design was enigmatic, mysterious and mesmerising’

“Peter Rubie’s lighting is incredibly evocative, particularly noteworthy for its effective role in creating moments of stillness, of contemplation and of pain.”

I must mention that Peter Rubie’s lighting design is almost another character of this production. Perfectly framing the many intimate moments that this musical provides, I am completely envious of those that are seeing Once for the first time through this show.

‘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.’

‘well-judged lighting effects and the steely chill of Winter all find favour…. Imaginative lighting adds to the atmosphere.’

“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.”

“Peter Rubie’s lighting introduces a sylvan setting before morphing in parallel with the moods of the music”

“Peter Rubie’s lights create dimension – mournful dark, shafts of hopeful light”

“With Peter Rubie’s fine, often melancholic spot lighting, the pub transforms easily to other settings, and we’re fully immersed in the kinetic fun of these musician/actors.”

‘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.’

‘The set design and lighting are similarly superbly done — again, in contrast to Meow Meow bemoaning their inadequacy on stage for comic effect.’

Peter Rubie’s lighting design provides added gloss.

The lighting design by Peter Rubie excels by creating poignant moments for the audience to remember in scenes between the leads by darkening the rest of the stage and shining a light on them, as if they are the only people left in the world. Musicians are illuminated by varying spotlights, presenting an almost haunting visual, reminding us of the conflicts The Guy and The Girl have in their lives.

‘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.’