Rob Sowinski’s set and lighting design is first rate. The oversized scale of certain props, a huge baby mobile with a Miro bent and a carpet covered womb – shaped rise, allow the actors a surreal twist of overwhelm.  If this decision is deliberate, it is an intelligent move.

Nick Pilgrim, Theatre People
31 October 2016

“...simple, yet beautifully executed set and lighting design by Rob Sowinski make the technical aspects of this production top class.”

Adam Rafferty, Theatrepeople
24 January 2016

“The cleverly nuanced lighting design, supported by Russell Goldsmith’s subtle soundscapes, also helps delineate the shifting locations as the narrative skips forward and back through time.”

Maxim Boon, Limelight
21 January 2016

“the design elements – including a fractured streetscape by Rob Sowinski, dislocated from its rightful place and time and artfully lit…are beautifully integrated into the production.” 

Richard Watts, Arts Hub
21 January 2016

“Rob Sowinski’s tenderly atmospheric lighting design is a knockout.”

Paul Selar, Aussie Theatre
19 September 2015

“Rob Sowinski’s lighting is warmly complimentary, and helps augment the musical’s more humanist tendencies. The colour palette of cobalts and teals is a world away from the steel and glass of the original, and adds a welcome layer of geniality to the sometimes icy exchanges.”

Tim Byrne, Australian Book Review
18 September 2015

“Lighting Design by Rob Sowinski is emotive and complements the blue-green tones of Teh’s set nicely.”

Adam Rafferty, Theatrepeople
20 September 2015

“Rob Sowinski delighted us with a rich and subtle lighting of Mattea Davies’s beautiful painted set evoking a washed, bleached and windswept Beaumaris beachscape.”

David Barmby, Artshub
29 September 2015

“But great scripts need equally great creatives. There’s a design (Eugyeene Teh) that makes old warehouse offices feel like they were built for this play; lighting (Rob Sowinski) that builds as much tension as the script”

Anne-Marie Peard, Aussie Theatre

“I love that designer Eugyeene Teh has made another corner of this warehouse inseparable from this work and that he uses carpet squares. I love that Rob Sowinski’s lighting and Russell Goldsmith’s sound are such a part of the story telling.”

Anne-Marie Peard, Aussie Theatre

“Almost every element in Tanya Dickson’s production is cleverly realised: the statuesque use of space, the expressionist shadowplay of Rob Sowinski’s lighting, and performances that rove from camp drollery to discomforting intensity.”

Cameron Woodhead, The Age

“Triangle has been refined through input from an inspired and inspiring team.  There is hardly a hair out of place.  Sound (Russell Goldsmith and Chris Wenn) underpins the atmosphere and light (Rob Sowinski) mostly elucidates but some times endows the whole with a sense of question. ”

Susan Sandow, Stage Whispers

“It struck this reviewer as one of the finest plays this country has produced in years, and received a production to match.”

TIm Byrne, Australian Book Review

“This was theatre-making of apparent simplicity but great skill.”

Mary-Lou Jelbart, Australian Book Review

“The lighting design is ominous and looming, characters cast enormous shadows over the high walls of the hall and performers frequently move the lights through the space giving the environment the impression of coming alive”

James Jackson, Stage Whispers

“The lighting in particular is beautifully designed by Rob Sowinski and made powerful use of.”

Ross Larkin, Theatre Press

“Beautiful lighting, courtesy of Rob Sowinski, gives the stage an impressionist glow before maturing into a melancholy sunset.”

Peta Mayer, ArtsHub

“Thanks to Rob Sowinski’s sensitive lighting, the room quietly takes on the look and feel of a prison cell.”

Nick Pilgrim, Theatre People

“...beautifully lit by Rob Sowinski”

Geoffrey Williams, Stage Whispers

“It is an arduous task to follow Reid’s lavish script, but set and lighting designer Rob Sowinski boldly endeavours to do so. The stage floor is made up of a collage of worksheets and book covers that neatly becomes a prop at one point. “

Patricia Tobin, ArtsHub

“The artful lighting, melodramatic music, and haze effects give a certain dream-like quality for the performance too.”

Patricia Tobin, ArtsHub

“The star of Fly-On-The-Wall’s production was Rob Sowinski’s stunning lighting design. He transformed the space time and time again using beautiful and thoughtful lighting that truly illuminated the physical and emotional settings of the scene. “

Laura Hartnell, Theatre People

“The design aspects of this production are brilliant, from the set to the sound effects, each element is keenly woven through the text and Chuter’s cohesive directorial vision.”

“Lighting, costumes and stage direction all combine to add layers of lush detail to this period piece”

Stephen A Russell,