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Nominated for Creative Innovation in Lighting award for 'A Girl in School Uniform (Walks into a bar)'

 - Theatre & Technology Awards 2018

 
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Out of necessity the staging is simple yet thorough, complemented by some exceptionally sensitive lighting from Peter Small.
— Paul Vale (The Stage)

✭✭✭✭ The Stage
Eleanor of Aquitaine at Tara Arts Theatre

 
 
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"The set is simple but for the lights which makes the stage look like a dingy night club - a fitting metaphor for the garage inspired script."

"With cool, stripped-back lighting by Peter Small"

"Peter Small’s lighting design pulsing with the beat of the spoken word"

"A special mention must go to lighting designer Peter Small who skilfully lights the actors for a sequence of touching monologues towards to end. Blink and you’ll miss it."

"A series of dangling light bulbs on rails above a bare set, laid out like a football pitch, and the cast slide these lights around to show changes in location, or focus, or to punctuate their anger. At one unforgettable point, during a sequence in which one story goes forwards while another goes backwards, the characters say “Blink” as the lights change. This has an incantatory, almost hallucinatory, effect. And it’s brilliant. Thank you, Peter Small"

"Josh Roche's direction also nicely takes advantage of the performance space and smartly forgoes scenery in favour of Peter Small's excellent lighting - which consisting of lightbulbs hanging from overhead tracks that can be propelled across the stage."

"Peter Small’s lighting work which does much to guide us about the internal lives on display here"

"Again, the ubiquitous lightbulbs take a hand as they flicker at the mention of ‘blink’ and ‘there’s a letter for you’. They represent punctuation in the script as the audience can barely divert their gaze. It’s a brilliant, almost Hitchcockian masterstroke as the story reaches its conclusion"

"Peter Small’s carefully judged lighting design heightens the tension"

"Sophie Thomas and Peter Small are jointly responsible for an ingenious design in which light-bulbs whizz through the air on overhead cables"

"Beautiful staging, the relatively simple set is complimented through the dynamic use of lighting. Singular light bulbs hang from bare wires suspended on tracks.  This allows the lights to be slid, both gently and aggressively, across the stage, creating mini-worlds for the characters to inhabit, the bulbs change colour with the moods, and the overall effect is magical."

 

✭✭✭✭✭ Theatre Weekly
✭✭✭✭✭ Rev Stan
✭✭✭✭✭ Theatre Box
✭✭✭✭✭ Pocket Sized Theatre
✭✭✭✭✭ British Theatre.com
✭✭✭✭✭ The Spy in the Stalls
✭✭✭✭✭ The Reviews Hub
✭✭✭✭✭ London Pub Theatres
✭✭✭✭✭ Theatre News
✭✭✭✭ Everything Theatre

PLASTIC at The Old Red Lion and Colchester Mercury Theatre

 
 
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"Peter Small’s lighting work is sharply effective too, transporting us through the years in a heartbeat."

"The distortion of time is skilfully supported by the lighting design of Peter Small. The audience is guided through several light changes suggesting the fragmentation of time’s linearity. The playfulness with the flow of time refers to the process of memory: the older moments of their shared story is barely lit, but a longer sequence in comparison to the shorter, but brighter sequences of the later relationship. Significant are the shadows, which, grow bigger and thus cover the stage of the couple’s relationship. The absent presence of what have been and is not anymore, is visually captivating as the core of the story, moments’ fleetingness."

"The lighting and music excel in setting the mood"

"Beautifully crafted by all the creative team"

"Performed in the round with no set apart from a piano stool, the entire weight of the play depends on the actors backed up with some very effective lighting (Peter Small)"

"The leaps in time in Old Fools are perfectly smooth and integrated, assisted by a superb lighting direction which helps in differentiating the space/time transitions."

"The different moods of the piece were really well reflected in the lighting and in such a small and intimate space to get that right, is a real craft"

"Subtle, swift and seamless well coordinated lighting"

✭✭✭✭✭ Theatre Bubble
✭✭✭✭✭ The Reviews Hub
✭✭✭✭✭ Reviews Gate
✭✭✭✭✭ londontheatre1
✭✭✭✭✭ British Theatre Guide
✭✭✭✭✭ Theatre World Internet Magazine
✭✭✭✭✭ The Remote Goat
✭✭✭✭✭ The Gizzle Review
✭✭✭✭✭ The Spy in the Stalls
✭✭✭✭ The Independent
✭✭✭✭ TimeOut
✭✭✭✭ The Upcoming
✭✭✭✭ Johnathan Baz
✭✭✭✭ Stage Talk
✭✭✭✭ Theatre News

Old Fools at Southwark Playhouse

 
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Nominated for BEST LIGHTING DESIGN for 'A Girl in School Uniform (Walks into a bar)' at The New Diorama Theatre

Nominated for BEST LIGHTING DESIGN for 'Black Mountain' at The Orange Tree Theatre (Paines Plough 2017 Season Transfer)

 
 
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"Some gorgeously stylish transitions involving flashing lights and sudden blackouts"

‟Peter Small’s lighting blinds you”

"At first, the performance has a film noir-ish vibe, amped up by moody lighting"

"Peter Small’s atmospheric lighting design, all flickering fluorescent tubes and sharply defined shafts of near-light, gives way to absolute, complete darkness for much of the play’s 80-minute running time"

"Peter Small’s lighting, which often plunges the audience into a disorienting darkness so deep and shroud-like it feels as if the show has slithered off the stage and into the auditorium, where it proceeds to worm its way inside your head"

"A large proportion of Ali Pidsley’s production – made with playwright and Barrel Organ collaboratorLulu Raczka – takes place in total blackness, the lighting – or lack of it – designed by Peter Small. This sensory deprivation allows the storytelling to engulf the audience."

✭✭✭✭ The Times
✭✭✭✭ The Stage
✭✭✭✭ The Guardian
✭✭✭✭ TimeOut
✭✭✭✭✭ London Theatre 1
✭✭✭✭✭ the reviews hub

A Girl In School Uniform (Walks into a Bar) at The New Diorama

 
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‟It also has a beautiful, economical, stylish, effective setting and glorious lights. Tech used to help the play brilliantly. ”

- Christopher Lilly

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FOX at The Old Red Lion Theatre

 
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‟The staging feels impressively modern”

- Greg Stewart, Theatre Weekly

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‟Peter Small’s lighting makes us gasp more than once. Nice touches include making us, the audience, feel as if we are being watched and, also, as if we are watching”

- Ann Treneman, The Times

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BLACK MOUNTAIN, PAINES PLOUGH

 

‟The highlight of this stunning show was the innovative and heart-wrenchingly beautiful lighting design. Peter Small utilises a myriad of LEDs to both snap between different times and places, and to heighten the visceral, emotional moments in this brilliant performance. Sudden changes in lighting immediately alter the atmosphere, allowing the scenes to tumble after each other and conveying the feeling of 30 years passing in the blink of an eye”

- Angela O'Callaghan, Broadway Baby

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OUT OF LOVE, PAINES PLOUGH

 
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‟The fourth character, betrayal, is in the tense lighting”

- Paul T Davies, BritishTheatre.com

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BLACK MOUNTAIN, PAINES PLOUGH

 

‟James Grieve (Director) and lighting designer Peter Small use darkness to generate atmosphere and create the sense that something is amiss between the couple”

‟There are a couple of functional jump scares, mainly generated by the lighting”

- Natasha Tripney, The Stage

BLACK MOUNTAIN, PAINES PLOUGH

 
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‟With no props or set, the lighting design is crucial and works brilliantly to help us set the scene, from a dark house in the middle of the day to the bright lights of the Golden Arches”

- Kirsty, Theatre and Tea

HOW TO BE A KID, PAINES PLOUGH

 
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‟The production of All Or Nothing works very well and brings the story of the Small Faces to life very well, great lighting”

- Karren Woodham, Blazing Minds

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ALL OR NOTHING UK TOUR 2017

 
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‟A simple yet highly effective set and lighting design did well to highlight mod culture and fashions”

- Dan Earl, Express & Star

ALL OR NOTHING UK TOUR 2017

 

 

‟Peter Small’s lighting design is rocky and heightens the feel of the Mods' musical context”

- Andrew Exeter, Blogger

✭✭✭

ALL OR NOTHING UK TOUR 2017

 

 

‟Played out on a skeletal set of scaffold poles, rope and sand, with a lighting plot delineating the boundaries of memory and reality”

- Nigel Smith, The Stage

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SHE CALLED ME MOTHER UK TOUR 2015

 

 

‟Peter Small’s lighting adds extra awareness and location”

- Howard Loxton, British Theatre Guide

SHE CALLED ME MOTHER UK TOUR 2015

 
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‟The fluorescent strip lights that occasionally illuminate the stage do a particularly good job of altering the mood, making you realise that some things have to be viewed in a harsh light, even though you may not like it”

- Sarah Jeffcoate, Everything Theatre

SHE CALLED ME MOTHER UK TOUR 2015