Reviews
A Single Man
Troupe Theatre Company, Park Theatre
I also admired the lighting (by Peter Harrison), which allowed intimate spaces to be highlighted, memories to be shown (a low red glow of a fireplace), or places to be hinted at – working closely in tandem with Beth Duke’s sound.
Louise Penn, loureviews.blog
Home Turf
Sadlers Wells, Sadlers Wells
... while Peter Harrison's lighting evokes everything from family warmth to stadium floodlighting
Zoe Anderson, The Independent
The Canterville Ghost
Tall Stories, Pleasance 1, Edinburgh Fringe
The lighting and sound design perfectly supported the cast and the movable doors of the set were simply and slickly wheeled across the stage to transport the audience around the Canterville Manor.
Emily Champion, The 730 Review
The Canterville Ghost
Tall Stories, Pleasance 1, Edinburgh Fringe
One thing that must be said from the oft is how well the production nails the mood and atmosphere of old school musical hall and vaudeville. From the set design of fading red curtains, to the tinkling piano accompaniments, to the wonderfully subtle lighting design that gives the effect of the entire auditorium being lit by candle light. Everything combines to make us feel as if we've been transported back to the likes of Carnegie Hall in its heyday.
Joseph McAulay, BroadwayBaby.com
Macbeth
Stafford Festival Shakespeare, Stafford Castle
Breathtakingly atmospheric...... Designer Simon Kenny's castle ruins blend brilliantly with the real shell of Stafford Castle, below which the action plays out in the open air. From the start, the music and lighting create a suitably menacing mood.
Neil Bonner, The Stage
Romeo and Juliet
Guildford Shakespeare Company, Holy Trinity Church, Guildford
The lighting, designed by Peter Harrison, is stunning and perfectly map the intricate make-up of the church through silhouettes, ceiling lighting and spotlights; all contributors to some of the shows most effective stage pictures.
Sophie Huggins, The Reviews Hub
Dear Brutus
Troupe Theatre Company, Southwark Playhouse
Anna Reid's collaboration with Peter Harrison (set and lighting designer, respectively) is a key element for the production, as the theme of light and darkness runs through it from its very start. His contribution is subtle but effective, warm and welcoming tones take a different twist when they become scattered, incandescent bulbs, adding an eerie touch to the scenes.
Cindy Marcolina, Broadway World
The Cardinal
Troupe Theatre Company, Southwark Playhouse
Audibert's vivid staging makes fine use of the thrust and the simple set, designed and lit effectively, by Anna Reid and Peter Harrison respectively, to elicit a sense of claustrophobia.
Dan Rubins, A Younger Theatre
Julius Caesar
Guildford Shakespeare Company, Holy Trinity Church, Guildford
Elena Pena's sound design of cheering crowds and military manoeuvres is highly effective, as is Peter Harrison's dramatic back lighting, in a show that benefits from the august surroundings of the neo-classical Holy Trinity Church.
Neil Dowden, The Stage
Britten in Brooklyn
Wiltons Music Hall
The staging for Britten in Brooklyn is an absolute joy, Cecilia Carey's design and Peter Harrison's lighting perched within the wonderful surroundings of Wilton's Music Hall, create a vivid picture of the escapism of war in 1940s Brooklyn.
A Spy In The Stalls
Pink Mist
Bristol Old Vic
The extremity of their Afghan experience is emphasised by an intensity of colours in a stark, memorable show design by Peter Harrison and Emma Cains.
Keith Mckenna, British Theatre Guide
Pink Mist
Bristol Old Vic
Life in Bristol is stunningly conveyed in the spare, fluid, dream-like staging where the terrific, tightly drilled cast express themselves in synchronised movement and where the harrowing pain of the flashbacks is underscored by the suggestive sound and lighting designs of, respectively, Jon Nicholls and Peter Harrison.
Paul Taylor, The Independant
Pink Mist
Bristol Old Vic
Featuring split-second timing and highly atmospheric lighting from Peter Harrison, these sequences are masterful in both their precision and their power to move.
Mike Whitton, Stage Talk Magazine
Much Ado About Nothing
Ludlow Festival, Ludlow Castle
As the darkness (but not dampness) came, lighting designer Peter Harrison’s skills became more apparent – especially with the lighting inside a castle window to give the effect of a full moon over the proceedings below and intensifying the image of Francine Watson-Coleman’s terrifically choreographed and uplifting finale
Mr Pernickety, www.MisterPernickety.com
The Doubtful Guest
Hoipolloi, Watford Palace Theatre
Stefanie Muller’s design and Peter Harrison’s lighting are gorgeous
Joyce McMillan, The Scotsman