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"On designer Sophia Pardon’s versatile set with its neon frame of changing coloured lights, the transformation from mundane reality to the magical land of Oz is enchanting. [...] Ali Hunter’s lighting has transformed the flora of the set from more muted natural greens to a forest of glorious rainbow colour, all connected by brilliant golden threads and ropes of light."
Judi Herman on The Wizard of Oz. What's On Stage. 24.11.2023.
"What trumps it is the atmosphere and surreal interludes brought to life by Ali Hunter’s lighting and José Puello’s sound designs. In these moments the old Trinidad enters the new to reveal two worlds rubbing against each other: one full of clean surfaces, looking to a hi-tech future; the other with elemental drum beats, Shango and the pain of colonial enslavement."
Arifa Akbar on Meetings. The Guardian. 19.10.2023.
"The set is beautifully colourful, innovative, clever and suggests a playground that you may see in any suburban park or school but the magic comes from the way that it is lit with some dramatic effects which complement the script and the action perfectly. Hats off to Ali Hunter for the lighting design"
Stephen Stokoe on Protest. In Newcastle. 02.05.2023.
"Dominating the stage is Ceci Calf’s impressive set – a large square structure with sliding slatted screens that is rotated by the cast, cleverly creating the various scenes and strikingly lit by Ali Hunter."
Trish Lee on Othello. Newbury Today. 25.09.2022.
"Ali Hunter’s lighting showed us everything we needed to see and no more, leaving our imaginations to swirl around in the darkness whilst setting the mood."
Graham Wyles on Beautiful Evil Things. Stage Talk Magazine. 21.10.2022.
"Lighting transitioned scenes wonderfully and created both soft and intense scenes. It was brilliantly managed and directed. Whether it was highlighting Jock in his offset positioning in front of the cells, spotlighting on individual characters or general lighting across the set, it was some of the best use I’ve seen. I also particularly liked the transitions when in isolation reflecting the passing of time and then in a moment a seamless change of character."
In Newcastle on One Off. 18.11.2022.
"The lighting design by Ali Hunter particularly stood out throughout the entire production. It was elegant and dramatic. Through its simplicity, it created a visually stimulating accent for the performers without taking attention away from them. It made an undecorated stage multi-dimensional and captivating. It was the perfect accompaniment to the soundtrack and dancers while creating a moody ambiance."
Mia Goodman on Crabs in a Barrel. 30.03.2022.
"Ali Hunter’s lighting design is phenomenal as well, contributing to the creation of the boys’ environment and deftly bringing together each setting, scene and situation with clarity and creativity. The fact that the show is essentially just three actors, one football, and great sound and lighting design makes it all the more impressive."
Lauren McClane on Red Pitch. 24.03.2022.
"What makes Red Pitch such a fine production, however, isn’t just the writing, the acting and the movement. It’s how the whole creative team has pulled together to create something rather special. [...] The lighting by Ali Hunter evokes the endless days and evenings the boys have spent here, as well as switching gears when, between scenes, the boys imagine future fame and glory on the pitch."
Salterton Arts Review on Red Pitch. 23.02.2022.
"Harry Pizzey’s commanding set design impressively creates the period atmosphere with great attention to detail, which is enhanced by Ali Hunter’s haunting subtle lighting."
Trish Lee on Brief Encounter. 23.10.2021.
"Louie Whitemore’s set and Ali Hunter’s lighting work brilliantly together here to create this fragile softness. Both are Jermyn veterans, and it shows: at times the stage looks like a watercolour at dusk, at others it sharpens into striking backlit tableaux."
Laura De Lisle for The Arts Desk on For Services Rendered. 12.09.2019.
"The minimalistic production generally does a superb job playing to the play’s strength – its characters and the dialogue, and it’s here where the show shines. This is especially highlighted in the lighting design by Ali Hunter, who frequently makes excellent use of her tools in just the right moments."
Michael Higgs for The Up Coming on Cash Cow. 25.06.2019.
"Lighting designer Ali Hunter pushes this trapped feeling even further by creating a giant ring of light which illuminates the entire performance space, leaving no place to hide."
Alexandra Wilbraham for A Younger Theatre on Soft Animals.
"Ali Hunter’s lighting design blew me away and inspired me to change my perception of the limitation within black box spaces."
Hannah Storey for Pocket Size Theatre on Cinderella and the Beanstalk. 12.12.2018.
"Neil Warmington’s set design is flexible and oppressive, its effectiveness aided in no small measure by Ali Hunter’s very atmospheric (and occasionally startling) lighting."
Peter Lathan for The British Theatre Guide on Clear White Light.
"The set, designed by Anna Reid, is the simple box frame of a small room, much smaller than the stage, which is in shadow all around it, and, coupled with Ali Hunter’s sensitive (that word again!) lighting, it creates an oppressive, claustrophobic atmosphere, aided by the almost subliminal sound design by Open Clasp regular Roma Yagnik."
Peter Lathan for The British Theatre Guide on Rattlesnake.