‘The lighting and sound are spectral and spectacular in their aural and sensory dimensions.’ (Feather in the Web – Nick Coyle)

-Melinda Keyte: Arts Hub

‘Lighting Designer Clare Springett impressively achieves a fully realised effect, with key features including exotic lanterns of Tehran and the green fluorescent tubes of the 1970’s.’ (Oil – Ella Hickson)

-Simon Paris: Man In Chair 2019

‘Clare Springett’s lighting is versatile and often ingenious-‘

-Tim Byrne: Time Out

‘Clare Springett’s elegeant lighting design supports the productions naturalism..’

– Jennifer Barry: Arts Hub

‘Clare Springett’s lighting design is so perfect that it was at times easy to forget the lights were coming from a rig attached to the roof of the theatre, and not in fact shining through a window of Maggie and Billy’s home’

– Theatre People

‘Enriched with lighting from Clare Springett, the overall effect suggests a loving home and garden that once again, perfectly supports the intimacy of the narrative’

– Australian Stage

‘Clare Springett’s lighting design is a feature’

– The Blurb

‘The strength of the familiar characters and setting lies in their relatability, achieved by the cast – Ngaire Dawn Fair, Dion Mills and Christina O’Neill – the set designer, Chloe Greaves, and the lighting designer, Clare Springett, who bathes the scene in a multitude of gentle, cosy hues’

-SYN Media

‘The lighting in this piece by Clare Springett is unusual for a strings concert with flashes and pink washes to illuminate Puck’s imagination. There is a multilevelled creativity to this piece that demonstrates a playfulness and interest in the possibilities of classical music to make connections and breathe a different life into classic texts’

– Sydney Theatre Reviews – Night Writes

‘Clare Springett’s lighting is most effective in bringing the characters in and out of focus as the action moves from the past to the present, and from the real to the surreal’

– Simon Paris: Man In Chair