Press

Broadway World

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.

Broadway World

Australian Arts Review

“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”

Rohan Shearn, To Barbra With Love

ArtsHub

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

Diana Carroll, Meow Meow's Pandamonium

Australian Book Review

‘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, Pinchgut Opera - Messe De Minuit

ArtsHub

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

Lynne Lancaster, ONCE The Musical

The Daily Telegraph

‘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, Avi Avital / Australian Brandenburg Orchestra

Theatre People

“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, ONCE The Musical

ArtsHub

‘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, Megan Washington Album Tour

The Melbourne Critique

‘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, Mojo Juju Native Tongue

Theatretravels.org

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

Lia Cocks, Disco Wonderland

Australian Stage

“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.”

Rebecca Whitton, ONCE

theatretravels.org

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

Carly Fisher, ONCE The Musical

Broadway World

‘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, Australian Brandenburg Orchestra

X-press Mag

‘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, Eskimo Joe with WASO

The Guardian

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

Cassie Tongue, ONCE The Musical

Classic Melbourne

‘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, Roberto Alagna.

Theatre Travels

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

Olivia Ruggiero, ONCE The Musical

Suzy Goes See

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

Suzy Wrong, NED: A New Australian Musical

Stage Whispers

“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.”

Martin Portus, ONCE

SuzyGoesSee

“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, A Chorus Line

Musicinsight

‘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, Megan Washington Album Tour

Sydney Morning Herald

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

Harriet Cunningham & Martin Duffy, Vivaldi Unwired / Max Richter's recomposed Four Seasons.

Theatre People

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

Tim Garratt, Lea Salonga In Concert /Sydney Symphony & Michael Cassel Group

Concert Patron

‘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, Kate Miller-Heidke and the Sydney Sympony Orchestra.

Limelight

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

Shamistha de Soysa, Pinchgut Opera - The Spiritual Forest

The Australian

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

Murray Black, Handel's Messiah / Australian Brandenburg Orchestra

Reviews by Judith

‘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

Stage Whispers

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

Kimberley Shaw, ONCE The Musical

Amplify

‘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, Megan Washington Album Tour

Sydney Morning Herald

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

Harriet Cunningham, Handel's Messiah / Australian Brandenburg Orchestra

ArtsHub

‘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, Meow Meow's Pandemonium: MSO