Media

“Rob Sowinski’s design makes extensive use of plastic sheeting, with black plastic creating dark backgrounds and clear plastic used for a hazy effect. Excellent use is made of the Chapel off Chapel performance space, with a raised stage on four sides creating an orchestra pit in the centre flanked by tall scaffolding poles. ... Lighting his own set, Sowinski adds significantly to the ominous air. Always drawing the eye to the action, Sowinski illuminates faces sufficiently despite the shadowy effect overall. ”

SImon Parris, Theatre People

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“Rob Sowinski’s clever set of black plastic and dark decking places the orchestra in a sort of conversation pit, around which the action takes place - a reflection, maybe, of the opera’s insular location.”

Michael Schmith, The Age/SMH

“Written and directed by the deservedly lauded Dean Bryant, the entire look and feel of the show – a piano, cabaret-style seating, and incredibly smart lighting design – is a triumph.”

Aleksia Barron, ArtsHub

“Design and performance are slickly integrated to steep the audience in the sterility of body culture. The mise-en-scene is tightly focused (thanks to designer Eugyeene Teh and Rob Sowinski’s lighting): the stage framed by dressing-room lights, and centred on a dental chair.”

Cameron Woodhead, Behind the Critical Curtain

“Kudos must go to set designer Rob Sowinski for his simple yet extremely effective cave structure which is both imposing and beautiful and perfectly symbolizes the claustrophobic underworld, grave like atmosphere that becomes Floyd’s final days. There is also an extremely clever crevice where Floyd spends a majority of the play.”

Darby Turnbull, Theatre People

“The sets, lighting and direction were excellent.”

Graham Ford, Stage Whispers

“...lighting, costume, set, sound designers… are excellent, as are the performances.”

Humphrey Bower, Crikey! Daily Review

“The sightlines of fortyfivedownstairs are notorious, as the stage is split in two by intrusively branching pillars. Rob Sowinski’s minimalistic set turns them into trees, beams, cell walls and makes the most of the space.”

Dina Ross, Australian Book Review

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“Spare set design cleverly adds to the competitive tone, with actors pushing furniture prior to starting onto the stage like giant chess pieces.  Let the games begin.”

Nick Pilgrim, Theatre People

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“Credit is due to designer Rob Sowinski, whose minimal set captures the essence of country town without being overly cute or contrived. “

Jane Canaway, Australian Stage

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“Rob Sowinski’s bare-bones design is moving and effective. “

Byron Bache, Herald Sun

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“...remarkably solid and entertaining, with writing and performance, direction and design a cut above what you’d normally expect, even for a main stage production of a new Australian work.”

Cameron Woodhead, The Age

“Lighting played an integral role, whether it was a coloured wash or a solo pin spot across her face.”

Christopher Fieldus, Hana Theatre Journal

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“Rob Sowinski’s lighting design is beautifully elegant. In the absence of a set, it evokes everything from the smallest nightclub, to Holiday’s Catholic reformatory school to the splendor of Carnegie Hall with a lyrical touch.”

Robert Chuter, ArtsHub

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“Rob Sowinski’s impeccably choreographed lighting visually transported us from Billie’s childhood house where we began all the way to the brothel, the dark and smoky bars where she got her start and then finally to her infamous Carnegie Hall performance.”

Alexis Desaulniers-Lea, aphramag.com

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“A grand piano, a stool. a mic stand, great sound, outstanding lighting effects, an illuminating script and enormous talent from the artists have synchronised to produce a show that is unique, transcendent and most definitely not to be missed lovers of music.”

Kerrie Patcholli, Toorak Times