“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, thelowdownunder.com

“...each scene (designed and lit by Rob Sowinski) is distinct and evocative”

Seanna van Helten, milkbarmag.com

“The set and lighting by Rob Sowinski is extraordinary. He uses the Chapel theatre in a way I’ve never seen before, leaving room for the cast to play and move while keeping everything beautifully framed. “

Dean Arcuri, samesame.com

“...stunning visual images of love and lust, captured in the light and shadow of excellent lighting design.”

Margaret Wieringa, Theatre Press

“This blending is exquisitely enhanced by Rob Sowinski’s set, where a living room couch and dressmaker’s mannequin sit in surprising concordance beside hollow plastic female torsos with glowing incandescent hearts and red-lit hanging lights and lamps. The lighting seems nearly alive, growing and pulsing and fading as the emotional landscape changes; soft and inviting for home, rich and dark and parodying sexiness for the brothel, and everything in between for memory and reflection.”


“The play is a lovely weaving of naturalism – in set, lighting and acting – with the non-naturalistic world outside, where the stage is hardly lit, save for the splashes of red light.  The lighting was overall very good—evocative, mood changing, and, importantly, not jarring. The design was effective and included small red bulbs suspended and mannequins lit from the inside.”

Angus Cameron, Theatre People

“Rob Sowinski’s lighting design was gorgeous.”

Jason Whitaker, Crikey! Daily Review
06 November 2014

“This production is sumptuous despite the short run. The mobile part sets by Rob Sowinski…work a treat, the lighting design by Sowinski with Tom Warneke is quite beautiful and atmospheric.”

Coral Drouyn, Stage Whispers

“Rob Sowinski and Tom Warneke’s lighting design adds much needed atmosphere.”

Vito Mattarelli, Australian Stage
06 November 2014

“Clarke’s design team (Eugyeene Teh, design; Russell Goldsmith, sound;  Rob Sowinski, lighting) are rightly listed as equal creators and have made the Theatre Works space intimate and confining. There’s no escaping to empty space and no where to look but at the people speaking.  The lighting and sound concentrate the emotion and the inescapable darkness and, with Teh’s exquisite set, give the final air and breathing space that’s needed”

Anne-Marie Peard, Aussie Theatre

“Daniel Clarke’s extraordinary lightness of touch in directing this very emotionally heavy piece (the performance runs for 100 minutes with no interval) is beautifully complemented by the intimate set design and evocative light and soundscapes. Eugyeene Teh’s simple but thoughtful set enables three performers to remain on stage for the entire performance, as witnesses and observers of the action that is unfolding; involved yet simultaneously distant in the drama in which they are entrenched. Similarly, Rob Sowinski and Russell Goldsmith’s lighting and sound designs are perfectly in sync and create natural segues highlighting the key shifts within each monologue as well as between the monologues themselves.”

Dione Joseph, Australian Stage