“...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

“Rob Sowinski’s lighting enhances the design, particularly the creation of shadow images…Overhead bamboo pole lights are cleverly lit in red and blue to signify the American presence in the second act.”

SImon Parris, Theatre People

“...the effect is stunning thanks to Rob Sowinski’s lighting.”

Ben Neutze, Crikey! Blog

“Rob Sowinski’s lighting design is effective throughout. “

Coral Drouyn, Stage Whispers

“…an endlessly inventive creative team.”

Bradley Storer, Theatre Press

“The lighting, designed by Rob Sowinski, was a real highlight of this production”

Stacey-Louise Camilleri, Theatre People

“The lighting in such a small space can be problematic but it was handled beautifully here – and who cannot love a rig of Strand Patt 23s and 123s!”

Shirley Jensen, Stage Whispers

“Special mention must go to musical director David Cameron — effortlessly comfortable with Prior on stage. And also to the lighting designer — whose name I could not find! — whose warm and subtle display brought a great deal of atmosphere and presence to the show while always keeping attention squarely where it belonged — on the star. “

David Allen, Aussie Theatre

“...the lighting design by Rob Sowinski is marvellously atmospheric.”

Coral Drouyn, Stage Whispers