4x4 Ephemeral Architectures ISMENE BROWN
The Spectator
31 January 2015
"All is plushly wrapped with Guy Hoare’s glowing lighting."
4x4 Ephemeral Architectures LOUISE LEVENE
Financial Times
14 January 2016
"Best of all was Guy Hoare’s lighting, which not only sculpted and dramatised the bare stage but joined in the mathematical argument, patterning the floor with lines and chequerboards."
4x4 Ephemeral Architectures NICHOLAS MINNS
Writing About Dance
13 January 2016
"Hoare’s lighting is an essential ingredient: he makes the rhythms visible."
4x4 Ephemeral Architectures JO TOMALIN
Fringe Review
24 August 2015
"Lighting and special effects complement the imagery and narrative beautifully."
4x4 Ephemeral Architectures KERRY TEAKLE
TV Bomb
11 August 2015
"Incredible lighting design by Guy Hoare completes this sensational cross-art form experience."
4x4 Ephemeral Architectures KRISTY STOTT
Upstaged Manchester
1 July 2015
"Guy Hoare’s lighting design, with wonderful exposed lighting rigs, fully complements all of the movement on stage adding a further dimension to this striking cross-art amalgamation."
4x4 Ephemeral Architectures VERA LIBER
The British Theatre Guide
15 January 2015
"...indispensible lighting designer Guy Hoare..."
A Darker Shade of Fado GERARD DAVIS
Dancing Review
2 May 2014
"Guy Hoare’s terrific lighting was probably the closest thing the show had to genuine Fado style in its reliance on blackness."
A Darker Shade of Fado ALI EMM
Left Lion
1 May 2014
"The lighting for the show could have almost been considered an extra player it was that integral to the performance."
A Doll’s House DAVID GORDON
Theatremania
5 March 2014
"Cracknell has envisioned A Doll's House as if it were a film noir, complete with dim lighting that casts uneasy shadows (gorgeously rendered by Guy Hoare)."
A Doll’s House JOHN SIMON
Westchester Guardian
5 March 2014
"...dramatically lit by Guy Hoare..."
A Doll’s House BEN BRANTLEY
New York Times
28 February 2014
"Guy Hoare’s lighting relentlessly tracks and conceals its moving targets."
A Doll’s House OLIVER MITFORD
Best of Theatre
20 August 2013
"As the play progresses and Nora’s paranoia increases, the house seems to grow darker and lighting designer Guy Hoare throws angular shadows across the stage creating a real sense of the impending tragedy to come."
A Streetcar Named Desire SALLY JACK
The British Theatre Guide
1 October 2015
"Guy Hoare’s lighting complements Michael Taylor’s authentic set."
All My Sons BEN HEWIS
What’s On Stage
21 May 2014
"The lighting, whilst officially designed by Guy Hoare, is essentially provided by mother nature, seeing as the action takes place over one day; after returning from the interval, dusk had fallen on Regent's Park."
All My Sons PHILIP FISHER
The British Theatre Guide
15 May 2014
"...Guy Hoare's valiant lighting..."
Amstatten ERIN JOHNSON
Bachtrack
26 February 2013
"From the thin lines of tape, which contributed greatly to the feeling of confinement, to the beautiful lighting and soundscape, this piece was a carefully edited piece of work...Guy Hoare’s lighting design was well timed and executed to create an enclosed space within such a huge performance venue. It was clear that Hoare and Clark took great care in the manipulation of light and shadow throughout the piece, and the result was an artistic design that supported the movement and choreographic ideas exquisitely."
Channel Rose NICHOLAS MINNS
Writing About Dance
3 March 2015
"They also respond beautifully to Hoare’s lighting which in turn sculpts the space around them and sets them free."
Channel Rose SINNEAD ALI
Buzz
8 December 2014
"Flooded lighting on one side of the stage created transformative depth…Ritually washing their hands in a fish bowl, that was lit from underneath, created a beautiful effect on the ceiling…Channel Rose was unflawed; visually stunning, "
Clarence Darrow SAM MARLOWE
Chicago Tribune
14 June 2014
"Otherwise, Sharrock keeps the pace keen and our attention rapt, aided by adroit lighting from Guy Hoare that irises in and out to maintain precise focus."
Clarence Darrow MATT WOLF
The Arts Desk
14 June 2014
"On the visual front, full credit is due to the spiffy contributions of Alan Macdonald, a designer on loan from the world of film… and Guy Hoare, the latter using lighting to vary the emotional beats of a piece that knows not when to be still as well as when to hurtle ever-onwards."
Don Giovanni NICK KIMBERLEY
Evening Standard
14 March 2016
"The multi-level set and Guy Hoare’s lighting create a believably murky demi-monde."
Don Giovanni STEVE SILVERMAN
Opera Britannia
14 March 2016
"The lighting is constantly moody and, when the Don gets his infernal comeuppance, Guy Hoare proves that meagre resources are no barrier to the creation of a scarily believable underworld."
Don Giovanni MARK VALENCIA
What’s On Stage
13 March 2016
"Four tunnels converge on the stage like pipes into a cistern, and at any one time Guy Hoare's artful lighting conceals as much as it reveals."
Dracula
SHANE MORGAN
What’s On Stage
27 September 2016
"Alongside Bruce and his seamlessly elegant, athletic and super-charged cast, the other triumph of the evening is the design. Dorothee Brodruck, Phil Eddolls and Guy Hoare have created a gothic powerhouse with their respective costume, set and lighting design roles combining all their theatrical expertise to create a dark, shadowy world where characters can appear from nowhere, disappear in the mist and fill the stage."
Dracula JUDITH FLANDERS
TLS
25 October 2013
"Guy Hoare’s almost velvet lighting is a character in its own right."
Dracula GRAHAM WATTS
Dance Tabs
20 October 2013
"Bruce’s creative and technical collaborators add even more pluses to the atmospheric perfection with incredibly evocative lighting by Guy Hoare."
Dracula JUDITH MACKRELL
The Guardian
17 October 2013
"His extraordinarily gifted dancers and design team navigate the material with near-hallucinatory dexterity."
Dracula SANJOY ROY
London Dance
15 October 2013
"Go with the imagery and indulge in the production, which is terrific. Guy Hoare’s sepulchral lighting glows like gaslight or pierces through mists like – well, like stakes through shrouds – and helps make Phil Eddolls’ cleverly adaptable set appear much bigger and unbounded than it is."
Dracula ROBERT TANITCH
Mature Times
14 October 2013
"The show, designed by Phil Eddolls, is notable for its eerie tableaux, for its striking masks for wolves and horses and for its visible darkness."
Dracula HOWARD LOXTON
The British Theatre Guide
14 October 2013
"A mist wreathed darkness speared by Guy Hoare’s lighting."
Dracula SARAH FRATER
The Stage
14 October 2013
"Guy Hoare’s exemplary lighting design intensifies the menacing sense of never-ending night."
Dracula NEIL NORMAN
Daily Express
11 October 2013
"Spears of light - cool blue moonlight or sharp penetrating rays of sunlight - pierce the smoke that issues continuously across the stage."
Dracula GRAHAM WATTS
Dance Tabs
9 October 2013
"Bruce’s creative and technical collaborators add even more pluses to the atmospheric perfection with incredibly evocative lighting by Guy Hoare."
Dracula LOUISE LEVENE
The Telegraph
4 October 2013
"All further scene-setting is supplied by Guy Hoare’s smoky lighting, which offers a masterclass in black-on-black."
Ex Nihilo / The Human Edge LUKE JENNINGS
The Observer
4 May 2016
"In the work's most lyrical sequence, paired dancers gradually split away from each other and achieve independent life while a constellation of tiny suspended lights (by Guy Hoare) descends from above."
Ex Nihilo / The Human Edge JUDITH MACKRELL
The Guardian
30 April 2016
"The slatted, shadowed darkness of the stage yields to a canopy of glowing lightbulbs as the stars of the universe are born."
Ex Nihilo / The Human Edge GRAHAM WATTS
London Dance
6 May 2014
"Ex Nihilo opens atmospherically with seven pods of substance gently caressed by Guy Hoare’s ultra-soft lighting…The Human Edge benefits from an eastern cinematic quality in its impact, enhanced by all the elements of choreography, design and lighting."
Ex Nihilo / The Human Edge KATYA VAGHI
Bachtrack
1 May 2014
"The illusion created by ATMA’s dancers is assisted by Guy Hoare’s beautiful lighting design, a sea of light bulbs whose tidal limb reaches out to hover over the audience…Vivid, often complementary, colours illuminate the simple elegant lines of the dancers' unisex costumes – blue and red, yellow and violet – while the bulbs cut the aerial space in two: the sky above, and below, the earth."
Far Away LYDIA THOMSON
Exeunt Magazine
1 November 2014
"The only thing we see on stage is the hats hanging from the grid above the stage. Guy Hoare’s lighting gives them a looming aesthetic."
Going Dark RAMONA MOSSE
Der Tagesspiegel
10 March 2014
"Guy Hoare’s imaginative lighting as well as Dan Jones’ intricate surround sound design rebuild the stage repeatedly, placing the audience centre stage…Going Dark is a beautifully composed piece of light and sound."
Grease LAURA JAYNE BATEMAN
Reviews Hub
2 December 2016
"The production design is hugely impressive... Guy Hoare’s lighting is beautifully detailed and does an excellent job of pulling the audience’s focus in such a vast space."
Grease SALLY JACK
The British Theatre Guide
2 December 2016
"Foster has assembled a fine creative team with Nick Winston’s choreography and Guy Hoare's lighting design all hitting their spots."
Grease DOMINIC CAVENDISH
The Telegraph
2 December 2016
"Colin Richmond’s spacious, brightly lit retro set is beautiful to behold."
Havana Rakatan SARAH FRATER
The Stage
11 May 2014
"Visually, the production is equally well judged. On its own, the stark Peacock stage offers few cues to Cuban nightlife, but the set (Camilo Rosales) and lighting designers (Guy Hoare) deftly convey the cocktail hour with simple props (a light ball, restaurant chairs) and Equator-quality lighting."
Here We Go VERITY HEALEY
Exeunt Magazine
29 November 2016
"This sense of randomness or fate – we don’t know when a lightning bolt or an act of God will strike us down and take away our lives – is carried over into the next almost-static tableau where a dead man (perhaps the same dead man from Scene 1) appears painted in Guy Hoare’s Rembrandtesque light."
Here We Go PAUL TAYLOR
The Independent
30 November 2015
"Then we see the biblically silver-bearded, bare-torsoed Patrick Godfrey (presumably the dear, departed) floating, as though a figure in some collaboration between Beckett and Dante, in a terminal tunnel sculpted by Guy Hoare's superb lighting design."
Here We Go MICHAEL COVENEY
What’s On Stage
28 November 2015
"Designed almost as a photo-negative by Vicki Mortimer, and lit with brutal switches and a brilliant sizzle at one point by Guy Hoare."
Here We Go NATASHA TRIPNEY
The Stage
27 November 2015
"He’s wry and kind of sprightly: in death he is oddly alive, and the way he’s been lit, by Guy Hoare, makes him look like a Caravaggio, somewhat reminiscent of a saint: Jerome, perhaps, without his red hat."
Hold Everything Dear DONALD HUTERA
The Times
20 May 2013
"Jules Maxwell’s score enhances the bittersweet melancholy as much as Guy Hoare’s sensitive lighting. Structured in poetical fragments, this hour-long show wallows gracefully in a deftly conjured atmosphere""
Iphigénie en Tauride CHARLOTTE VALORI
Bachtrack
29 March 2016
"Sensitively lit by Guy Hoare, washes of colour provide atmosphere and warmth, or chills, with flashes of white light for the storm which shipwrecks Orestes on Tauris' fatal shore. "
Iphigénie en Tauride DAVID NICE
The Arts Desk
6 March 2016
"Fleischle's stairways, platforms and ramps now draw the eye towards goddess Diana's sacrificial altar space, variously and beguilingly lit by Hoare, while blood, water and earth frame this perfect design for classical tragedy."
Iphigénie en Tauride MARK BERRY
Boulezian
"Nothing, however, detracts from the playing out of the tragedy, Guy Hoare’s lighting clearly focusing our expectation and concentration."
King Lear JOAN DAVIES
Manchester Confidential
8 May 2015
"Strongly lit, by Guy Hoare, from the front and framed by a giant clothes rack type structure in front of complete darkness, the actors appear as if in a painting, the scenes abstracted from reality. Yet the reality couldn't be more plain."
King Lear JO BEGGS
Reviews Hub
6 May 2015
"Guy Hoare’s lighting design is stark, sharp and effective."
King Priam MIRANDA JACKSON
Opera Britannia
27 February 2014
"There is some very fine singing and the combination of set, lighting and effective direction makes this a highly atmospheric production."
King Priam MARK RONAN
16 February 2014
"Wonderful set and costume designs by Anna Fleischle, with excellent lighting by Guy Hoare."
King Priam MARK BERRY
Seen & Heard
15 February 2014
"Anna Fleischle’s designs and Guy Hoare’s lighting assisted greatly not only with the screwing up of dramatic tension but also the differentiation of place between Troy and the Greek camp."
Paul Bunyan MARK RONAN
18 February 2014
"Steel has given us the cramped quarters in which lumberjacks lived, with set design and costumes by Anna Fleischle, atmospherically lit by Guy Hoare. It is wonderful."
Paul Bunyan KIMON DALTAS
The Arts Desk
18 February 2014
"Wyn Pencarreg is an impressive Hel Helson, one of the few characters who have any sort of development, and whose dream sequence marks one of the definite high points of the production – thanks also to the combined efforts of the director, set/costume designer (Anna Fleischle) and lighting designer (Guy Hoare)."
Paul Bunyan SEBASTIAN PETIT
Opera Britannia
27 February 2014
"Liam Steel’s handsome and often ingenious production for English Touring Opera makes the best possible case for this uneven work. Playing the piece as a community play within a single set (by Anna Fleischle) beautifully lit by Guy Hoare and utilising everyday objects to stand in for elaborate costumes and props might not be an original idea but it is entirely apposite for this work."
Paul Bunyan RICHARD FAIRMAN
Financial Times
21 February 2014
"The story shows the building of an early American community and Liam Steel’s production sets the opera among the camaraderie of a country barn with bunk beds for all, highly realistic in Anna Fleischle’s set and beautifully lit."
Pia de’ Tolomei TIM BANO
The Stage
11 March 2016
"The production’s two great strengths are baritone Grant Doyle’s powerful performance as Nello, and the design... To suit the opera’s tragic scenes, designer Loren Elstein has employed a murky colour palette, gloomily illuminated by Guy Hoare’s yellow and orange lighting. The result is like a sky before it fractures with a fierce storm - ever-changing, blackening and bruised."
Pia de’ Tolomei CHARLOTTE VALORI
Bachtrack
14 March 2016
"Guy Hoare's lighting cleverly changes its emphasis from scene to scene, using a column of light for Rodrigo's prison cell, or highlighting certain angles to indicate the warren-like caves of the hermits"
Pia de’ Tolomei PETER REED
Classical Source
10 March 2016
"The staging moves characters and chorus around in a way that swiftly focuses the drama, enhanced by Guy Hoare’s sulphurous lighting."
Roots JEMMA ANDERSON
A Younger Theatre
14 October 2013
"On a beautiful set designed by Hildegard Bechtler with much minute detail, and lit very purposefully by Guy Hoare, the action plays out within the Donmar with such clarity that it was hard to believe for a moment that I was in fact, in Central London and not the Norfolk Broads."
Roots HARRY STERN
The Public Reviews
14 October 2013
"Bathed in gloom…Hildegard Bechtler’s set is a marvel of detail and Guy Hoare excels with his lighting of this slice of 1950s life."
Roots QUENTIN LETTS
Daily Mail
10 October 2013
"I loved the subtlety; the precision of the acting. Is the lighting too low and the slowness overdone? Some may say so, but for me they only add force."
Roots CAROLE WODDIS
London Grip
10 October 2013
"Wesker’s Roots in this revival emerges as a time capsule, lovingly re-enacted and beautifully pinpointed by Macdonald through back-breaking realism..., crepuscular lighting and sudden pools of light."
Roots MARK SHENTON
London Theatre Guide
9 October 2013
"It is only in a theatre as intimate as the Donmar that such bold choices can be made like the one to play the first act under extremely subdued lighting by Guy Hoare."
Roots PAUL TAYLOR
The Independent
9 October 2013
"…atmospherically lit..."
Roots MARK SHENTON
The Stage
9 October 2013
"…meticulously atmospheric…"
Roots POLY GIANIBA
The Other Bridge Project
9 October 2013
"...supremely atmospheric…"
Roots MICHAEL COVENEY
What’s On Stage
9 October 2013
"There's a potato-peeling Lawrentian realism at work, but also a crepuscular aesthetic beauty in the shadows and half-light of Guy Hoare's exceptional poetic lighting on Hildegard Bechtler's grey, ramshackle cottage, with a practical staircase to one side."
Roots ANDRZEJ LUKOWSKI
Time Out
"‘Roots’ is a play that takes place in intimate gloom."
Rutherford & Son VERONICA LEE
The Arts Desk
6 June 2013
"This production, which started life at Northern Broadsides' home in Halifax and has been touring the UK, is lit by Guy Hoare, who expresses both industrial and domestic gloom expertly."
Rutherford & Son DAVID UPTON
Lancaster Guardian
20 February 2013
"Freed up from the directing duties, Barrie Rutter gives full ranting vent to the role turning him into a mad-eyed but calculating monster, while Guy Hoare’s splendid lighting design makes his mansion into a grim prison."
Rutherford & Son MICHAEL COVENEY
What’s On Stage
14 February 2013
"Lit by Guy Hoare with the atmospheric detail of Georges de La Tour’s candlelit paintings."
Sleeping Beauty MARK BROWN
The Daily Telegraph
7 December 2012
"If there is a powerful bleakness in Norris’s script, Hill’s production visualises it with an extraordinary boldness. Naomi Wilkinson’s set an eerie and claustrophobic representation of a dark forest has more blacks and greys than one would have thought possible (or, indeed, wise) in a Christmas show. Yet, assisted by Guy Hoare’s clever lighting, the design proves intelligently responsive to the play’s shifts in tone."
Something Then, Something Now MARTIN THOMASSON
The British Theatre Guide
1 May 2015
"Guy Hoare’s lighting design enhances and emphasises each mood and pose the dancer strikes, drawing the audience ever deeper into tales which Patel’s movement gives poetic physical form. "
Something Then, Something Now NICHOLAS MINNS
Writing About Dance
5 October 2014
"Lighting designer Guy Hoare creates a cocoon of hazy light that engulfs the musicians...after which Hoare lowers the lights to prepare us for her entrance: first her hand and then her arm, then her entire body appear through a thin sheet of light. For the next forty minutes Hoare integrates Patel’s dance and the Carnatic music into an intoxicating drama of mystery and light."
Something Then, Something Now DONALD HUTERA
Pulse
26 September 2014
"Another chief collaborator was Guy Hoare, whose masterly lighting design created an at times almost architectural dimension for Patel’s dancing – the way a high shaft of light illuminated her red-dipped hand, say, or broad bands of light and shade conjured a pillared courtyard. There was motion and mood in Hoare’s illuminations too, as in the sequential rippling of a series of overhead lights or a climactic wash of aquamarine that suggested some sort of emotional sea-change."
Strange Blooms LUKE JENNINGS
The Observer
8 December 2013
"With the stage bathed in pink and yellow light, and the score assuming a fluttery urgency, they are seized with shudders and twitches"
Strange Blooms VERA LIBER
The British Theatre Guide
4 December 2013
"Guy Hoare’s purple on red lighting places us in a magical night garden."
Strange Interlude CHARLOTTE MARSHALL
Official London Theatre
5 June 2013
"Soutra Gilmour’s jaw-dropping set uses the Lyttelton theatre’s huge stage to full effect, with gloriously designed rooms spinning around on a revolve or floating on and off to take us from grand old houses to cold expensive Manhattan apartments or, in one stand-out scene, to the deck of a boat while Guy Hoare’s equally stylish lighting streams through."
The Deep Blue Sea TIM BANO
Exeunt Magazine
14 June 2016
"The utmost technical proficiency seeps into every moment on the Lyttelton stage. But for all the skill, there remains a chill in the air; a detached coolness matching the almost icy blue/grey of both Tom Scutt’s looming set and Guy Hoare’s perfect lighting."
The Deep Blue Sea J WAYGOOD
Grumpy Gay Critic
9 June 2016
" Guy Hoare’s lighting does great to bring in the dim of the gloomy setting without eclipsing its inhabitants, creating some stunning visuals with shadows throughout. Then there’s fantastic little details like the curtains swaying in a breeze coming through open windows which add an almost film noir decadence that’s truly sumptuous."
The Deep Blue Sea DEBORAH PARRY
Reviews Hub
9 June 2016
"The set and lighting design are both bold and detailed- characters enter and exit via a staircase, which is in shadow behind a screen and uses the full height of the Lyttleton’s stage – this is visually unusual and engaging. Subtle blue hues feature throughout and both naturalistic and more contemporary striking lighting states are equally effective and provide a catching contrast in style."
The Father STEPHEN OLIVER
North East Theatre Guide
18 April 2016
"Guy Hoare’s lighting design plunges the set into darkness as each scene finishes and then Christopher Shutt’s sound design takes over with short bursts of music. Each scene having subtly different lighting to reflect the mood."
The Father STEPHEN COLLINS
British Theatre
4 November 2015
"Guy Hoare’s lighting is also part of the conveyance of meaning. As each scene (or most anyway) begins, there is a spark effect, a small visual representation of a proper connection being made, just before the lights come on. The spark varies in intensity as the narrative progresses and when it is absent, the silence does, indeed, speak volumes."
The Father MICHAEL COVENEY
What’s On Stage
6 October 2015
"James Macdonald's production, impeccably designed by Miriam Buether (set), Guy Hoare (lighting) and Christopher Shutt (sound), has moved stealthily from the Theatre Royal, Bath, via the Tricycle, Kilburn, into the West End, with no loss of snap, crackle and old pop in his pyjamas."
The Firework Maker’s Daughter GRAHAM RICKSON
The Arts Desk
31 March 2013
"It’s the visuals that are the star though; any theatrical producer operating on a limited budget needs to see what miracles are achieved here with the simplest of means."
The Firework Maker’s Daughter ANNA PICARD
The Independent
30 March 2013
"The pyrotechnics come from magic markers, oil and water, craftbox glitter and two overhead projectors; the enchantment from the energy of the performers, the ingenuity of Guy Hoare's lighting, and the beauty of Bruce's music"
The Metamorphosis GRAHAM WATTS
London Dance
22 March 2013
"This is also an example of brilliant creative collaboration with Daw’s designs; Frank Moon’s remarkable one-man band score, his live playing overlaid on a recorded track; and Guy Hoare’s atmospheric lighting all playing their part in a memorable theatrical experience”"
The Metamorphosis JUDITH FLANDERS
The Arts Desk
13 March 2013
"Guy Hoare’s evocative lighting shades reality into phantasmagoria"
The Odyssey ISMENE BROWN
The Spectator
1 March 2016
"I loved Mark Bruce’s previous creation, Dracula, and this one has a similarly fabulous set (Phil Eddolls) and lighting (Guy Hoare)"
The Odyssey JUDITH MACKRELL
The Guardian
29 February 2016
"With the aid of his excellent design team, Bruce has compressed Homer’s epic into a two-hour show, and located it somewhere between myth and modern fantasy."
The Odyssey EMILY PULHAM
Everything Theatre
28 February 2016
"The lighting and staging is an absolute masterclass in evoking atmosphere…the way things appear and disappear on the stage is stunning."
The Odyssey LOUISE LEVENE
Financial Times
28 February 2016
"Stage pictures are given painterly power by Guy Hoare’s lighting and generous use of the smoke machine which allows characters to materialise out of the mist to spooky effect."
The Odyssey
Culture Whisper
27 February 2016
"Guy Hoare, the lighting designer behind many a Royal Opera House spectacle, and set designer Phil Eddolls are responsible for the ambitious visuals."
The Odyssey LYNETTE HALEWOOD
Dance Tabs
27 February 2016
"Lighting design is by Guy Hoare who gives us smoky atmospherics and a line of footlights in a nod to Wilton’s past. He manages to invoke Odysseus home of Ithaca purely by some lights glinting on the backdrop."
The Odyssey SARAH STEWART
The Londonist
27 February 2016
"The sound of waves breaking on the shore, and smoky fog recede into the hazy lights of a far distant fairground, with a slowly turning Ferris wheel and a roller coaster. This is the atmospheric opening to Mark Bruce Company's The Odyssey."
The Odyssey LYNDSEY WINSHIP
Evening Standard
26 February 2016
"The Odyssey is his follow-up, another literary reimagining laced with haze-heavy atmosphere."
The Odyssey STUART SWEENEY
Critical Dance
25 February 2016
"The basic structure of the set remains unchanged throughout the production but creative lighting by Guy Hoare and an intriguing, hollow, circular frame by Phil Eddolls conjure up strong visuals."
The Odyssey MARK KIDEL
The Arts Desk
13 February 2016
"There are moments of singular beauty, enhanced by Guy Hoare’s inspired mastery of light – characters discovered in pools of light, shadows looming behind."
The Reluctant Fundamentalist FERGUS MORGAN
A Younger Theatre
29 August 2016
"Startling changes in Guy Hoare’s lighting design rapidly shift the focus from a Lahore café in the present day, to crisp Autumn days at Princeton, to pulsing New York nightclubs in the late Nineties. "
The Reluctant Fundamentalist DAISY BOWIE-SELL
What’s On Stage
26 August 2016
"Guy Hoare's lighting designs work brilliantly. Some of the internal conflict within Changez comes through the flickering and pulsing strip lights."
The Seagull MICHAEL COVENEY
What’s On Stage
25 April 2016
"And they are given the best possible framework by McIntyre and designer Laura Hopkins, who provides a skeletal set of a high platform in a neutral tundra that is scrawled over with drawings and phrases, lit by Guy Hoare to accentuate the idea of an outdoor performance by the lake in silhouette, and complemented with raised house lights to implicate the audience during soliloquies."
The Seagull SUSANNAH CLAPP
The Observer
21 April 2016
"It combines restless, abrasive dialogue in John Donnelly's new version, with stillness of gesture and steadiness of lighting."
The Seagull NATASHA TRIPNEY
Exeunt Magazine
16 April 2016
"The lighting however is gorgeous and golden throughout, each scene subtly shaded."
The Seagull DAVID JOBSON
What’s On Stage
16 April 2016
"The lighting team does well to create the atmosphere of each scene, including the lake at night-time and Sorin’s estate in semi-darkness"
The Seagull DOMINIC MAXWELL
The Times
1 May 2013
"Laura Hopkins’s set is blank, except for a wooden platform that serves as a jetty or a giant seesaw for the characters to sit on. The backdrop is like a giant sheet of manuscript on which a daub of black paint becomes a seagull, or Konstantin’s fevered writings. And yet the stealthy lighting helps to make the setting evocative"
Varmints MIM KING
Total Theatre Review
22 May 2013
"Enigmatic changes of light turn the world green and verdant; there's birdsong, and a dawning beauty like the wonder of daybreak… Varmints is both dynamic and sensitive, with a great full-bodied soundscape and magnificent design, set and lighting.”"
White Christmas MIKE TILLING
Musical Theatre Review
3 December 2016
"Guy Hoare’s lighting design is outstanding."
Without Stars SARA VEALE
Dance Tabs
21 November 2014
"Just when the choreography draws you in, the music and lighting step in to push you away: quiet, low-lit moments are regularly followed up with blinding rays and blasts of mournful music."
Without Stars JOHN O’DWYER
Seen & Heard
21 November 2014
"All this happens in Guy Hoare’s highly responsive light or shadow."
Without Stars VERA LIBER
The British Theatre Guide
21 November 2014
"...visible in the tumescent darkness..."
Without Stars RICH JEVONS
The Public Reviews
21 November 2014
"The chiaroscuro lighting used so effectively."
Sleeping Beauty MARK BROWN,
The Daily Telegraph,
7th December 2012
"If there is a powerful bleakness in Norris’s script, Hill’s production visualises it with an extraordinary boldness. Naomi Wilkinson’s set an eerie and claustrophobic representation of a dark forest has more blacks and greys than one would have thought possible (or, indeed, wise) in a Christmas show. Yet, assisted by Guy Hoare’s clever lighting, the design proves intelligently responsive to the play’s shifts in tone."
The Lighthouse GRAHAM ROGERS,
The Stage,
12th October 2012
"the success of Ted Huffman’s magnificently intense period setting heightened by Neil Irish’s lighthouse interior and Guy Hoare’s superbly atmospheric lighting."
The Lighthouse MARK BERRY,
Seen & Heard,
12th October 2012
"Guy Hoare’s lighting did its job very well indeed, especially when it came to showing the automated signals in the deserted, desolate house."
The Lighthouse MARK RONAN Wordpress,
11th October 2012,
"Lighting by Guy Hoare is superb
Albert Herring MARK RONAN Wordpress,
9th October 2012,
"The spare but effective set designs by Neil Irish, aided by Guy Hoare’s clever lighting allow subtle changes of scene, all within the same framework."
Albert Herring COLIN CLARKE,
Seen & Heard,
9th October 2012
"Lighting is expert"
Albert Herring KIMON DALTAS,
The Arts Desk,
4th October 2012
"They say that when lighting is good one shouldn’t notice it, but in this black box theatre with no proscenium arch, in a single-set production, Guy Hoare deserves special mention for conjuring up a very distinct atmosphere and sense of space for each act."
The Lighthouse CATRIONA GRAHAM,
The Opera Critic,
October 2012
"The opera ends with the automatic light sweeping round and casting shadows - Guy Hoare's lighting throughout is highly effective and enhances Neil Irish's design."
The Barber of Seville CATRIONA GRAHAM,
The Opera Critic,
May 2012
"Guy Hoare's lighting throws nightmare-ish Goya-esque shadows on the backcloth."
Jakob Lenz MARK RONAN Wordpress,
12th April 2012,
"Designs by Annemarie Woods with excellent lighting by Guy Hoare help give an almost supernatural sense of impending insanity."
Hold Everything Dear NICHOLAS MINNS,
Writing About Dance,
3rd April 2012
"I am reading Andrew Graham-Dixon’s biography of Caravaggio (whom Guy Hoare may well have helped to light his subjects in an earlier existence). Caravaggio’s central figures are beautifully lit, while the secondary figures fade into the blackness, features barely visible, yet present."
Onegin MARK PULLINGER,
Opera Britannia,
11th March 2012
"It was all beautifully lit by Guy Hoare, from the golden autumnal haze as the peasants gather apples in the opening scene right through to the grand ball of Act III."
Going Dark MICHAEL BILLINGTON,
The Guardian,
11th March 2012
"But what makes this an exceptional event is its imaginative integrity: the direction by Mark Espiner and Dan Jones, the design by Ales Valasek, the lighting by Guy Hoare all conspire to take us inside Max's world."
Going Dark DOMINIC CAVENDISH,
The Daily Telegraph,
9th March 2012
"a technical marvel this show proves Sound & Fury are going boldly where few companies have gone before. Along with applauding designers Ales Valasek (set), Guy Hoare (lighting) and co-directors Mark Espiner and Dan Jones, credit should also go to co-creator Tom Espiner’s son, whose recorded improvised chatter is like an inspired episode of Outnumbered. All in all, this is a dazzling achievement that deserves a rich scattering of critical stars."
Going Dark TOM WICKER,
Exeunt Magazine,
9th March 2012
"Guy Hoare’s striking lighting design
The Metamor phosis JENNY GILBERT,
Independent on Sunday,
25th September 2011
"Invisible walls and doors are made vividly real by Guy Hoare’s lighting"
The Metamorphosis VERA LIBER,
The British Theatre Guide,
24th September 2011
"eye-guiding lighting by Guy Hoare"
The Metamorphosis ISMENE BROWN,
The Arts Desk,
22nd September 2011
"The interior and exterior walls are invisible, yet made inarguably visible throughFrank Moon’s brilliant soundscore and Guy Hoare’s equally inspired lighting. There is knocking on doors everywhere - invisble doors, invisible walls, which spring into absolute presence with Moon’s sounds and Hoare’s lighting."
Future Proof JOHN ROBERTS,
The Public Reviews,
15th August 2011
"with a stunning set designed by Colin Richmond and lighting designed by Guy Hoare, we are transported instantly to a bygone era, with its sepia tones and moody atmospheric lighting, Future Proof is a wondrous sight to behold."
Future Proof FIONA MOUNTFORD,
Evening Standard,
11th August 2011
"What’s immediately noticeable is the deliciously evocative rundown fairground set, all muted lights and tatty tents"
Siegfried CHRISTOPHER MORLEY,
Birmingham Post,
29th July 2011
"all brilliantly accomplished in Kjell Torriset’s design and Guy Hoare’s lighting"
Siegfried RIAN EVANS,
The Guardian,
25th July 2011
"Guy Hoare's lighting adds depth, and the balanceof stark simplicity against the richness of the score, with all its psychological andmetaphorical allusions was always artful."
A Delicate Balance MICHAEL BILLINGTON
The Guardian,
13th May 2011
"Guy Hoare's lighting, which bathes the final act in a memorably ironic sunshine glow, puts the cap on a brilliant evening"
A Delicate Balance MATT WOLF,
The Arts Desk,
13th May 2011
"Note, too, the way in which Guy Hoare's expert lighting lends proceedings the qualities of a protracted surveillance as the play proceeds"
A Delicate Balance DAVID BENEDICT,
Variety,
20th May 2011
"in the unsparing fire of Guy Hoare's early morning lighting, Harry's gentle, resigned explanation to shattered Tobias of the limits of friendship proves heartbreaking"
Electra JAMES WOODALL,
The Arts Desk,
18th April 2011
"Guy Hoare’s lighting is inspired
Electra VICTORIA RUDLAND,
Exeunt Magazine,
17th April 2011
"Powerful lighting by Guy Hoare and thrilling, hair-raising sound design by Tom Mills help make this a stunning piece of theatre."
Mischief ROHANA ELIAS-REYES,
nytheatre.com,
19th March 2011
"This combined with Guy Hoare’s lighting design, which features saturated jewel tones and sharply defined areas, creates fertile space on stage."
Il Tabarro RUTH ELLESON,
Opera Britannia,
15th March 2011
"Tabarro doesn’t need visual complexity, just atmosphere, and Neil Irish’s split-level stage design, with lighting by Guy Hoare, was as powerful a depiction of the Seine riverside as I think I’ve ever seen."
La Clemenza di Tito CLAUDIA PRITCHARD,
The Independent on Sunday,
20th March 2011
"Impressive to look at, with its ravishingly lit classical monuments"
Il Tabarro ANNA PICARD ,
The Independent on Sunday,
13th March 2011
"it is down to Guy Hoare to conjure the play of sunlight and moonlight on water
A Christmas Carol Leeds Town Talk,
6th December 2010
"The magic came in plentiful supply from the set itself (designed by Colin Richmond), from the beautiful costumes and most significantly from the lighting and effects by Guy Hoare. Audiences at the Playhouse will be familiar with Hoare's imaginative work here in Leeds in the past, but this surely ranks as his masterpiece."
A Christmas Carol HANNAH GILES,
What's On Stage,
25th November 2010
"The production also benefits hugely from Colin Richmond's versatile set and Guy Hoare's lighting design, both of which manage to evoke a suitably eerie, Victorian atmosphere throughout"
Havana Rakatan DICKIE AND BUTCH,
The Leeds Guide,
25th October 2010
"Dozens of fabulous costumes, good use of scenery and stunning lighting design by Guy Hoare sets this tour apart from lesser dance outings"
The Duenna MARK RONAN,
Theatre Reviews,
October 2010
"Marvellous lighting by Guy Hoare"
Promised End ANNA PICARD,
The Independent,
17th October 2010
"...Beautifully designed and lit by Adam Wiltshire and Guy Hoare, James Conway's production closely mirrors Goehr's pace and structure."
Promised End GUY DAMMANN,
Times Literary Supplement,
10th October 2010
"...it is to the credit of James Conway 's staging for English Touring Opera, with designs by Adam Wiltshire and lighting by Guy Hoare which give great depth to the Linbury stage, that Promised End's first production strives at all times for clarity"
As You Like It TAJPAL RATHORE,
www.digyorkshire.com,
23rd September 2010
"even the lighting was effective to the point of notice"
As You Like It ANDREW LIDDLE,
The Stage,
22nd September 2010
"Truly, designer Ruari Murchison and lighting expert Guy Hoare have created a magical space"
Love & War GLENN MEADS,
What's On Stage,
2nd July 2010
"...due to Bruce's inventive direction and candid choreography, the performers' complete immersion into this weird and wonderful world, and Guy Hoare's evocative lighting; Love and War remains a scorcher"
Die Walküre CHRISTOPHER MORLEY,
Birmingham Post,
6th August 2010
"Walküre last week was simply astounding...Guy Hoare's lighting, so intricately tracing the predominantly gloomy atmosphere"
Peter Pan ayoungertheatre.com,
14th May 2010
"The set designed by Laura Hopkins and lit by Guy Hoare is exquisite, creating the perfect backdrop of Edinburgh before transforming in to various locations in Neverland"
Love And War GERRY PARKER,
Crackerjack,
11th May 2010
"excellent lighting"
Peter Pan VIVIEN DEVLIN,
www.edinburghguide.com
29th April 2010
"The towering Forth Bridge set neatly doubles as the masts and decking of a ship, secret islands and seashore rocks against a beautifully lit sky of grey clouds and pink sunsets"
4m2 MARIA IU,
musicOMH,
4th March 2010
"with the dim shadowy light, it looked like CGI - it looks magical"
Passing Strange And Wonderful SANJOY ROY,
The Guardian,
16th March 2010
"Guy Hoare's lighting - shafts and shadows that illuminate, shroud or cut across the dancers - is as suggestive as the dance itself"
Serenading Louie MICHAEL COVENEY,
What's On Stage,
17th February 2010
"Director Curtis and designer Peter McKintosh, artfully abetted by Guy Hoare's lighting and Adam Cork's soundtrack, make the intersections both graceful and plausible"
A Christmas Carol PAT ASHWORTH,
The Stage,
3rd December 2009
"It's beautifully choreographed and lit"
About Around ROSIE CLARKE,
The Brighton Argus,
6th November 2009
"ingenious lighting created dramatically changing atmospheres"
Bruise Blood DEBRA CRAINE,
The Times,
27th October 2009
"Jeyasingh's choreography is written in squiggly lines and voluble rhythms, in jagged edges and contrasting symmetrical shapes. It's nervy yet more consciously stylish than her previous work, almost as if she is staging her own rave, an impression reinforced by lighting that bathes the stage in red."
Mischief VERA LIBER,
British Theatre Guide,
12th October 2009
"Simple - magic. Deceptively simple magic. And creative ingenuity... Under a strong colour wash of lights (Guy Hoare is surely in Robert Wilson's league), a dark enchanted forest becomes a fluorescent playground"
Kes JOHN ROBERTS,
the publicreviews,
23rd September 2009
"lit with brilliance by Guy Hoare"
The Magic Flute ROBERT HUGILL,
Music & Vision,
18th March 2009
" ...The set itself was enormously versatile, especially combined with Guy Hoare's lighting and videos from Matt Spencer..."
Othello RON SIMPSON,
What's On Stage,
19th February 2009
" ...Ruari Murchison provides a single sombre architectural setting, with useful balcony and doors, Guy Hoare's lighting exploits the shadows and Stephen Snell's Edwardian costumes tend towards subdued shades...."
Othello LYNNE WALKER,
The Independent,
19th February 2009
" ...Played out on a muted set of façade, balcony and tall doors, all evocatively lit..."
Waste MICHAEL COVENEY,
What's On Stage,
3rd October 2008
" ...The production, handsomely designed by Peter McKintosh and beautifully lit by Guy Hoare, is full of such deepening touches, the overall atmosphere, political and personal, completely electrifying..."
All The Fun Of The Fair Bromley Times,
3rd October 2008
" ...Colin Richmond's design is beautiful, with Guy Hoare's powerful lighting bringing out every nuance of decayed glamour..."
Waste NEIL DOWDEN,
musicOMH,
25th Sept 2008
"Guy Hoare's beautifully varied lighting reflects the shifts between major and minor moods"
The Witches of Eastwick ANNE MORLEY-PRIESTMAN,
What's On Stage,
18th August 2008
" ...It's all beautifully designed by Peter McKintosh with two-dimensional clapboard houses, deceptively bright costumes for the townsfolk and some brilliant lighting effects from Guy Hoare..."
Anna Bolena CATRIONA GRAHAM,
The Opera Critic,
May 2008
" ...Guy Hoare's lighting is effective and unobtrusive..."
Square Map of Q-4 MARK MONAHAN,
The Daily Telegraph
11th February 2008
" ...As for Guy Hoare's lighting, the work overall is designed to create a sense of the evanescence of dreams and memories..."
Square Map of Q-4 Dance Europe
Apr 2008
" ... supplemented by bands of radiant lighting or drenchings of molten red colour from the always adventurous lighting man extraordinaire, Guy Hoare...visually this is an often striking piece...."
Square Map of Q-4 Sunday Times
Feb 17, 2008
" ... Rafael Bonachela’s dance piece is a fantastic light show (credit to Guy Hoare)", ...."
Square Map of Q-4 Manchester Evening News
Feb 13, 2008
" ... Rafael Bonachela has moved on not only to form his own company, but to enlist the considerable talents ... ace lighting designer Guy Hoare ... It is very much a shared experience, each art form challenging the others. The dancers are changed by lighting effects and shadow, by beams of shimmering light making their bodies wave-like and by projected images intensifying their sinewy movement...."
Square Map of Q-4 The Times
Feb 13, 2008
" ... Clever video effects (courtesy of Alan Macdonald) and shimmering lighting by Guy Hoare transform the landscape of Bonachela's dance, giving it the elusiveness of dreams and fashioning the six dancers as projections rather than flesh and blood...."
Amadeus The Stage
Nov 19, 2007
" ... Beautifully lit by Guy Hoare, Colin Richmond’s grand but austere design does little to suggest the glitter of Austrian court life but does perhaps mirror perfectly the grim mood of the story’s bitter central character...."
Expression Lines Manchester Evening News
Mar 14, 2007
" ... Oguike himself danced Expression Lines, a solo to Ali Farka Toure's guitar music - except that it's really a duet for man and lights...."
Macbeth RON SIMPSON,
What's on Stage
Mar 1, 2007
"All aspects of design and production are thoroughly integrated... Lighting designer Guy Hoare isolates the odd patch of light amid the surrounding blackness and swirls of mist, the actual limits of the stage blurred in the gloom."
And Who Shall Come To The Ball? ballet.co.uk
May 3, 2007
" ... Patterns of movement begin in unison, only for dancers to break away, victims to the primitive violence of Scott Walker’s commissioned score and the dazzling shattering of Guy Hoare’s lighting...."
Sea of Bones Time Out
May 16, 2007
" ... You don't need to know the source stories to get a jolt from either the dancing or the staging, of which Guy Hoare's lighting is an outstanding feature." ...."
Sea of Bones The Times
May 22, 2007
" ... An equal star of this production is the lighting designer Guy Hoare. The darkling smoke-dense realm he creates adds an appropriate atmosphere to Bruce's bleak, belligerent universe." ...."
Sea of Bones The Scotsman
Jun 18, 2007
" ... Dark and foreboding, Guy Hoare's exquisite lighting was an eighth performer. Spotlights, dimly pushing through the dry ice, barely illuminated the often erotic, always animated shapes thrown by the seven dancers." ...."
And Who Shall Come To The Ball? Time Out
Summer 2007
" ... "the gifted designer Guy Hoare...."
Henri Oguike Dance Company Aisle Say, Toronto
Aug, 2007
" ... Beautifully lit (by designer Guy Hoare) ...."
Henri Oguike Dance Company New York Times
Aug 18, 2007
" ... Guy Hoare’s lighting throughout the program, gave the choreography an emotional context and depth...."
How Many Miles To Basra? The Press,
Oct, 2006
" ... Bright sand, useless, broken slats and slashed and wind-blasted blinds combine with Guy Hoare's intense lighting to wage a relentless assault on the senses."
Shot Flow,, Second Signal, Seen of Angels The Times
Jan, 28, 2005
" ... "Shot Flow, made in 2001, is an intriguing experiment between Oguike, a long, cool drink of a dancer, and the excellent lighting designer Guy Hoare...."
White Space, Shot Flow, Second Signal, Seen of Angels Daily Telegraph
Feb 1, 2005
" ... each creation has its own colour, pace and distinctive mode of movement, though all share an exultant physical vigorousness and the visionary lighting of Guy Hoare...."
Front Line, White Space, FPS Parts 1 & 2, Finale Financial  Times
Apr 26, 2004
" ...A fine evening: fine dancers and fine dance in fine lighting...."
Der Ring Des Nibelungen Music & Vision
Aug 2004
"Then there's Guy Hoare, the lighting designer, who amid this complex junketing seems to conjure up ..." link
 Closer Chipping Norton News
Jun 9, 2004
The lighting is also simple, or seems so until ..."
Front Line, White Space, FPS Parts 1 & 2, Finale The Times
Jan 31, 2004
"... the latest development of Oguike’s investigations with the exemplary lighting designer Guy Hoare."
Dido & Aeneas, Finale, FPS Sunday Telegraph
Feb 2, 2003
"... bodies that glowed with vitality in Guy Hoare's sunny yellow light."
Dido & Aeneas, Finale, FPS Observer
Feb 2, 2003
"... Guy Hoare's lighting silhouettes the dancers in a frieze against a silvery cyclorama."
© Jann Parry
Dido & Aeneas, Finale The Independent
Feb 2, 2003
" Relying only on Guy Hoare's clever lighting, ..."
Dido & Aeneas, Finale, FPS The Times
Feb 1, 2003
" ... Guy Hoare’s gilt-edged lighting is masterly."
Frontline, In Broken Tendrils, Shot Flow, Melancholy Thoughts, The Independent
Apr 24, 2002
"Lighting is the moody new star of dance, ... and Henri Oguike is right in there, along with his lighting designer Guy Hoare."
Frontline Observer
Apr 21, 2002
"... he and his lighting designer, Guy Hoare, conjure gleaming worlds ..."
© Jann Parry
Frontline, In Broken Tendrils, Ilé Ayé Time Out
Apr 17, 2002
"... a mysterious collaboration between choreographer and lighting designer ... technique is cinematic ..."
Observe the Sons of Ulster Marching Towards the Somme Time Out
Apr17, 2002
"... dramatically lit tableaux ..."
Observe the Sons of Ulster Marching Towards the Somme Camden New Journal
Apr 11, 2002
" ... imaginative lighting from Guy Hoare ..."
Observe the Sons of Ulster Marching Towards the Somme Evening Standard
Apr 10, 2002
"The apotheosis of Hoare's lighting comes in the end. ... a blood-orange sunrise."
Frontline, In Broken Tendrils Daily Telegraph
Feb 26, 2002
"...Guy Hoare's flickering lights manipulate senses, ..."
Shot Flow, Melancholy Thoughts, A Moment of Give The Guardian
Dec 13, 2001
"... three way collaboration between sound, light and movement ..."
© Judith Mackrell
Götterdämmerung The Independent
Jun 27, 2001
"... Guy Hoare's lights are at their best in Götterdämmerung, ..."
Götterdämmerung Birmingham Post
June 2001
"... enhanced by fascinating lighting effects ..."
Marat/Sade Time Out
Feb 21, 2001
" ... design and lighting are outstanding ..."
Marat/Sade Metro
Mar 5, 2001
"... simple but beautiful lighting effects ..."
Story of an African Farm Evening Standard
Sept 2000
" ... lighting is peculiarly melancholic,"
Story of an African Farm Time Out
Sept 2000
"Aided by ... Guy Hoare's brooding lighting ..."
Yllana's 666 Edinburgh Evening News
Aug 2000
" ... great lighting effects ..."
Yllana's 666 The Independent
Aug 2000
" ... aided by clever use of light ..."
Ilé Ayé, Prime Origin The Stage
Mar 2000
"... Guy Hoare's lighting is a work of subtle art throughout."
The Revenger's Tragedy Time Out
Mar 2000
"... It looks good ... murkily lit by Guy Hoare, whose knife-edged shadows are as crisp as the sharp suits ..."