Il Trittico - Scottish Opera / Welsh National Opera
"Ben Pickersgill’s lighting, which, whether it’s peachy golden sunlight or the silvery chill of the early hours, creates moods and atmosphere with a remarkable eye"
Rebecca Franks, The Times
"[The lighting] here is outstanding - the sunset, shadows and the way darkness shrouds the scene, but also the golden light he showers on Sour Angelica"
Mark Pullinger, Opera Now
A Little Night Music - Buxton International Festival
"The set by Phil Daniels and Charles Smith replicates the feeling of Bergmann’s film, with towering birch trees surrounding what serves as a dance floor, a frozen lake and a mirror, with the dusky scene at the opening of the second act brilliantly lit by Ben Pickersgill"
Colin Davison, British Theatre Guide
"...while all the visuals are given heightened resonance by Ben Pickersgill’s subtle lighting"
George Hall, The Stage
The Turn of the Screw - Bury Court Opera
"...the dark, claustrophobic nature of the space.. emphasised by Ben Pickersgill's dramatic lighting, all darkness and light, full of hidden corners and wonderfully theatrical"
Planet Hugill
"Crucial to the impact of Ella Marchment’s production... is Ben Pickersgill’s lighting. Gaslights gutter and chiaroscuro effects heighten the overt theatricality – and shock value – of the ghostly comings and goings"
Yehuda Shapiro - The Stage
Le Carnaval de Venise - Vache Baroque
"The lighting is superb, perfectly calibrated to a work that shift emphasis and tone on a sixpence, ever supporting the prevailing mood, from the distraught to the extravagant"
Colin Clarke, Opera Today