HISTORY OF FALLING THINGS
Striking visuals by Tim Hope emphasise the beauty of their relationship and their almost childish belief and trust in each other. Lighting (Christopher Page) and sound (Alistair Wallace) accentuate the subtlety of the direction and the naturalness of the exceptional acting.
The set design by Anna Gardiner and the lighting by Christopher Page are efficient and adaptable.
Christopher Page’s lighting is simple, clearly and cleverly marking Robin and Jacqui’s worlds side-by-side, as well as opening out moments with bursts of golden and coloured light.
RIDE / FOURPLAY
The atmospheres and ‘intrigues’ of the text revealed are gently, surreally counterpointed with some beautiful ‘theatrical’ lighting states created by Christopher Page
Ride is almost entirely naturalistic with touches of the surreal, using subtle shifts in Christopher Page’s lighting and Alistair Wallace’s sound to conjure up the exact feeling of a rainy summer afternoon in Sydney’s inner west.
The production is free of frills, but ambience is beautifully manufactured by its team of designers. Alistair Wallace’s sound and Christopher Page’s lights rarely steal our attention but the mood in the theatre is consistently rich with sentimentality and a gentle electricity, derived from a very sensitive approach to the show’s quiet aesthetics.
Edmonds pulls the whole thing off with the aid of Christopher Pages brilliant, old-fashioned lighting design, a fog machine, and a couple of props.
Lucas Jervies’ clear direction and Christopher Page’s focused lighting design assist in ensuring that the audience is always aware of where we are and which character we are encountering at all times.
Christopher Page’s lighting does much of the storytelling. It’s brilliantly unsubtle and is key to some of the best gags in the show, including one hilarious, but gentle moment of audience participation.
Lighting designer Christopher Page, sound designer Lana Kristensen, production designer Phil Shearer, have worked closely together to produce a strong and striking environment
His design team (Phil Shearer on production design, Christopher Page on lights, and Lana Kristensen on sound) does an excellent job of fulfilling its brief of creating a relentless air of skin-crawling foreboding that keeps tensions high, and when appropriate, shock us with powerful effects that literally make us jump.
Costuming, staging, lighting and a subtle soundscape just complemented the outstanding performances by passionate actors
Harrison makes good use of this atmospheric venue, placing the action on and around a tilted wooden “O”. Enhanced by stage smoke, lighting designer Christopher Page’s contribution is notably strong.
HIS MOTHER’S VOICE
Sound designer James Colla and lighting designer Christopher Page, use creative vision to creative an atmosphere that beats with the changing rhythms of the action.
Both, the simple design of the space for the many locations of the story telling and the costume needs are well thought-through and enhanced with the effective Lighting Design by Christopher Page.
DER GELBE STERN
Lighting design for the Festival was precise and versatile, playing to the tone of the different songs with ease, and these design elements of costume and lights with Fishman’s performance had some moments of stunning visual images.
AS YOU LIKE IT
The intriguing single flower is a delight. Set designer and lighting designer have succeeded in making a mainly empty single space do for the court and the forest of Arden in a number of attractive ways.
The ceiling is hung with beautiful bulbs, like that of a Christmas tree, but for us, a twinkling design by Christopher Page.
Hugh O’Connor’s set design of black mirrored walls literally and metaphorically reflects the voyeuristic thematics of the play and Christopher Page’s lighting design is pin point sharp, infusing blackouts with a flash pan effect that suggests the speed, suddenness and irretrievability of the tendrils of technology.
Christopher Page’s lighting works well
The simple setting is lit beautifully by Chris Page
…the stark brightness of lights from Christopher Page add to the frenzied tension of events and even when the stage is still or characters don’t speak, we understand that the buzz of circumstance is ever-present.
The Lighting Design by Christopher Page is sympathetic and atmospheric
Other elements that make this an affecting work include the seamless, unobtrusive lighting design by Christopher Page, which potently creates a strong sense of place.
Christopher Page’s lighting is gloriously atmospheric and the depiction of the rotating windmill is fabulous. When a helicopter flies overhead at one point in the show, we can hear, feel and smell it.
A MIDSUMMER NIGHT’S DREAM
…with the simple set transforming for a variety of locations with the help of some atmospheric lighting designed by Chris Page.
But just when it feels like the characters have had the rug pulled out from under them too many times, the production sounds a truthful note as Titania and Oberon realise that, for them, this party ended long ago. It’s a lovely passage that owes much to the lighting designer, Chris Page.
The play’s design team Anna Gardiner and Christopher Page displayed the skills of magicians by moving the play through nine scenes in ninety minutes within the confines of the intimate Ensemble stage.
Kilmurry’s direction, Anna Gardiner’s compact design, Christopher Page’s impressive lighting design create the world for the three young performers to work in.
THE DARK ROOM
Christopher Page’s lighting design and Pete Goodwin’s ominous soundscape enhance the drama by adding another layer of tension and atmosphere to this potent and compelling modern work.
Christopher Page’s lighting is in sombre sympathy
…and Christopher Page’s sterile and jittery lighting design helps to underline the nervousness of the characters (and the audience).
Designer Michael Hankin and lighting designer Christopher Page have transformed the Downstairs space into a classic motel room that is dark both in its dreary décor as well as in its tenants’ inadvertently shared histories.
Christopher Page’s lighting is noteworthy in that does not draw attention to the lights, just to the action.
Christopher Page’s lighting is suitably moody.
the lighting is big and bold by Christopher Page, adding a sense of mysticism to the story.
Christopher Page’s lighting conveys transitions and the passage of time effectively as well as pointing up the characters’ emotions and their moments of isolation and misery.
Focus is clear throughout, ably assisted by Christopher Page’s lighting and Anna Gardiner’s foldout style set design
Christopher Page’s gorgeous lighting is breathtaking and enhances the production significantly, as does Anna Gardiner’s functional set and costume design
There are very effective set and lighting designs, in this tiny intimate space, by Michael Hankin and Christopher Page.
Aided by a simple, effective design by Michael Hankin, beautiful lighting by Christopher Page
The first thing you notice […] is Michael Hankin’s design. […] They dominate the space, providing some challenges – but also glorious opportunities for Christopher Page’s lighting.
Moodily lit by Chris Page and housed in a tent made of rope (designer Michael Hankin), Judith looks handsome, and uses this tricky space quite well.
The Bondi Pavilion stage continues to prove challenging to designers and directors alike: […] lit by Chris Page, it’s an interesting, effective abode for Holofernes and his visitors.