Guy Hoare Lighting Design - Reviews
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Guy Hoare Lighting Design - Reviews |
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Guy Hoare is represented by Jeffrey Cambell Management. |
| Faith Healer | MATT WOLF, The New York Times, 22nd February 2011 |
"Mike Britton’s set is expertly lighted by Guy Hoare, whose ghostly, spectral palette is entirely in keeping with the text" |
| Faith Healer | DOMINIC MAXWELL, The Times, 7th February 2011 |
"Guy Hoare’s lighting design is almost musical, controlling the mood on Mike Britton’s carefully drab set" |
| 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" |
| Sivaloka | DONALD HUTERA, Pulse 18th November 2010 |
""....the masterful Guy Hoare’s lighting design played with the mood" |
| 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 ..." |
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