Muriel's Wedding Lighting Design story - CX Magazine http://www.juliusmedia.com/sydney-theatre-companys-muriels-wedding-the-musical/
Lights by Trent Suidgeest are versatile and unpredictable, able to traverse mundane and surreal with ease - SuzyGoesSee
Sophie Fletcher’s offbeat, winningly adaptable set, which uses curtains and blinds to delineate space and time to remarkable effect – when everything turns beige late in the play, it’s a striking study of stifling heteronormativity – is lit with devilish glee by Trent Suidgeest. - AudreyJournal
quick change and furniture arrangements were extremely well thought through and activated. The Lighting from Trent Suidgeest, was, as usual, meticulous and aesthetically pleasing - Kevin Jackson’s Theatre Diary
This production is also a triumph for director Lee Lewis and her design team — Jonathan Hindmarsh, Trent Suidgeest, Steve Toulmin and Toby Knyvett. There’s no way you could put together a spectacular large-scale action drama on the tiny Griffin stage, right? Wrong. They do. - The Australian
Steve Toulmin’s sound design is pulsating with the same underground-party rhythms and Trent Suidgeest’s lighting and Toby Knyvett’s audiovisual design, all humming with life against the foundation of Jonathan Hindmarsh’s set design. - TimeOut
Hindmarsh’s set is beautifully lit by Trent Suidgeest and the unity between the two is incredibly satisfying. The LX states shift and snap between the scenes with such precision; exploring a range from ethereal dreamlike states through to florescent public toilets. -
Lewis’ smart direction ensures the text engages as it should, and that the pace of the 90-minute play is cracking, while Trent Suidgeest’s lighting design evokes an appropriate dance party vibe. - TheatrePeople
Trent Suidgeest’s lights and Steve Toulmin’s sounds bring organised chaos to the stage, for a show that is unpredictable and messy, occasionally frustrating, but ultimately persuasive with its spirit and conviction. - SuzyGoesSee
Lighting designer Trent Suidgeest creates a festive vibe with strings of tiny warm globes, which create a wonderful sense of intimacy in the Fairfax Studio - Simon Parris
Trent Suidgeest’s cleverly atmospheric lighting design - TimeOut
Trent Suidgeest’s lighting a perfect foil for the production - Lynne’s Theatre Notes
meticulously designed by Isabel Hudson and seductively lit by Trent Suidgeest -
Trent Suidgeest's lighting allows for clear delineation between the present and the past with hand held flashlights and muted spotlights keeping bar in the shadows and implying the fire damage that had remained untouched for 45 years and bright cheerful lighting capturing the life of 1973. Pensive moments where individual stories are told are focused with spotlight as the strings of lights fade to white whilst bolder stories are presented in a wash of colour as the fairy lights take on a festive feel. The bar's final moments are presented with a chilling expression of the fire that ripped through the Victorian era building. - BroadwayWorld
Trent Suidgeest’s lighting choices are excellent (particularly during the show’s dramatic climax) - TheatrePeople
meticulously prepared Lighting Design by Trent Suidgeest - the best of this Mardi Gras season of productions I have, so far, seen - Kevin Jackson
with lush lighting design by Trent Suidgeest - Stage Noise
Muriel's Wedding The Musical, is a terrific success. The Lighting Design by Trent Suidgeest does all it needs to do without pulling focus. It is no small feat. - Kevin Jackson's Theatre Diary
Phillips’ frequent collaborator Gabriella Tylesova designs both sets and costumes, unleashing a glorious cavalcade of colour on the stage. Trent Suidgeest’s lighting is crucial to these luscious floods of colour. Managing to be both simple and epic at the same time, Tylesova moves from small settings, such as a bed and a door, to the grand scale of Sydney’s Harbour Bridge and Opera House. Any number of small flourishes, frequently witty, bring visual delight along the way. - Simon Parris
Lavish lighting dazzles - Sydney Morning Herald
this large-scale production successfully captures a rock stadium vibe. Industrial scaffolding rises to three stories overhead, dazzling lighting effects abound, and the well-loved music is played and sung with energy to spare - Simon Parris
Trent Suidgeest’s lighting is highly effective throughout, becoming particularly wonderful during Jesus’ death and other high-tension moments - Theatre People.com
"The lighting, however is more impressive. Designed by Trent Suidgeest, the effect is what you would expect from a rock concert: think bright colours, swinging spotlights and swirling patterns. It creates just the right atmosphere and transports the audience from a symphonic performance to a stadium-esque rock show." - The AU Review
"while Trent Suidgeest’s unobtrusive and well considered lighting choices work well for the piece" - Theatre People
"Trent Suidgeest’s lighting is fluid and atmospheric" - Artshub
"Trent Suidgeest’s lighting helps to define and redefine the space as the characters move through Sydney" - Daily Review
"partnering with Lighting Designer Trent Suidgeest for a spectacle I shan't spoil, but MUST be seen" - Broadway World
"Lauren Peters’s Old West saloon is beautifully lit by Trent Suidgeest" - The Australian
"perfectly lit by Trent Suidgeest" - Limelight Magazine
"complemented by Trent Suidgeest’s cleverly atmospheric lighting design" - TimeOut Magazine
"Director David Freeman and his production team used the forecourt brilliantly. Large wheeled platforms whizzed across Joern Utzon’s imposing staircase. Trent Suidgeest’s inventive lighting and Marco Devetak’s videos enlivened and enhanced the compelling drama." -- The Australian
"Trent Suidgeest’s colossally conceived lighting design picks it all out to perfection, the intensity of each scene reverberating against the sandy stone and night sky. Visually, it’s hugely appealing and immensely watchable." -- Limelight Magazine
"Michael Scott-Mitchell’s drab, decaying backdrop was seamlessly transformed into a vibrant series of street scenes by Teresa Negroponte’s garish costumes, Trent Suidgeest’s inventive lighting designs and Kelley Abbey’s dynamic choreographic blend of street dance and contemporary dance styles" -- The Australian
"Set designer Michael Scott-Mitchell has created a surprisingly versatile village square space, which changes mood with Trent Suidgeest’s lighting design... Both Bell and Abbey know how to use the space to highlight the essential action; it’s a vibrant and busy stage, but the audience’s eye is always drawn exactly where it should be, thanks in part to some smart and subtle lighting" -- Daily Review
"The square transforms with Trent Suidgeest's lighting from lamp lit lair to the bright sun of the bullfight day" -- Broadway World
"The Rabbits may well prove to be one of the most important works ever created in this country" -- The Daily Telegraph "A triumphant adaptation of a deeply tragic story" -- The Guardian "This short powerful gem of a work tells an important story in a beautifully engaging way" -- The Australian
"Trent Suidgeest's lighting is outstanding" -- Sydney Morning Herald
"Trent Suidgeest's lighting is quite marvellous" -- The West Australian
"glorious lighting by Trent Suidgeest" -- Diana Symonds, Stage Noise
"And with lighting designer Trent Suidgeest, the scene where the babies fly away on kites is almost too much to bear" -- Aussie Theatre
"In a vivid and tense landscape of symbolic strength, created by designer Gabriela Tylesova and Trent Suidgeest’s lighting, the illusion of masses is felt with just 11 cast members" -- Herald Sun
"The beautiful stage pictures are expertly enhanced by lighting designer Trent Suidgeest, who seems to create actual climates on stage" -- Simon Parris : Man in Chair
"Trent Suidgeest’s elaborate, complex lighting complements and enhances look and mood – from rosy glow to icy frost" -- Stage Whispers
"Trent Suidgeest’s lighting design works in harmony with Tylesova’s vision. Cleverly lighting faces from within the mouths of the rabbits demonstrates the attention to detail that has gone into this production. A beautiful opening lighting state brings life to the rippling fabric and intrigues the viewer immediately. Lighting rated 5 Stars" -- Theatre People
"The brown padded costumes for the marsupials and the pointed masks of the rabbits are close replicas of Tan’s figures and cold fluorescent lights embedded within the rabbits’ masks (Trent Suidgeest lighting) adds further characterisation" -- http://rosalindappleby.blogspot.com.au/
"...to Trent Suidgeest’s lighting design that somehow manages to pick out faces" -- limelightmagazine.com.au
"Trent Suidgeest's stunning set of four glass walls sardonically implies an enclosure for the unhappy rich" -- The Australian
"Turning the dining table is a fascinating detail in Trent’s design. Made of perspex, it rotates almost imperceptibly so we are able to see the effect on the guests of each utterly bizarre course of the dinner, and their emotions as Paige turns her verbal venom upon them" -- Subiaco Post Newspaper 28th March 2015
"On the technical side of things Trent Suidgeest and India Mehta can keep putting notches in their bedpost of theatrical conquests. Suidgeest’s sickly pastel lights through the wall of fog behind the set’s back glass wall becomes a beautiful, swirling abstract painting. The revolving floor under the table is an ingenious way to create movement and variety in what could potentially be a very stagnant environment." -- X-press Mag 31st March 2015
"Trent Suidgeest combines his roles of set and lighting designer to use huge screens which allow for a sense of external light and space, while limiting the stage area and its claustrophobic intensity as Paige’s conceptual meal unfolds" -- Artshub 1st April 2015
"The set for Dinner was, in typical Black Swan style, superb. The ultra-modern window frames acting as the border for the stage opened up at the beginning, inviting us in to join the action. I was at first concerned with how the dinner scene itself would be staged around the table, because I thought it might have been rather static. However, my worries were soon set at ease, when the centre piece in which the furniture was placed started slowly revolving, allowing us to see all the characters at different angles and perspectives. It had the dual effect of appearing like a ‘Lazy Susan’, creating the illusion that the guests themselves are part of the dishes being served up for Paige to devour. Trent Suidgeest, the Set and Lighting designer, did an incredible job in creating the perfect atmosphere for the action. There was fog present throughout the whole performance, seen behind the Japanese-style screening, and whenever doors were opened during the action, the fog would flood in, particularly during the climactic moments of the performance, which was an extremely effective technique. My favourite aspect of the set was the chandelier, seen hanging over the top of the table. It was created out of hundreds of pieces of cutlery, a feature subtle enough to not be invasive, but also one that perfectly complimented the action." -- Rotunda Media 28th March 2015
"Kate Mulvany's skilful adaptation adds stagecraft to Silvey's novel, and Sheedy brings their work to life with surety and not a little inspiration. There's inspiration, too, in Michael Scott-Mitchell's design, from the simple, sinister line drawing of the old tree that dominates the set to the mound of blue gravel that becomes a cricket pitch and, in a brilliant collaboration with lighting designer Trent Suidgeest, the dam in which the boys hide their secret."
-- The West Australian 21st July 2014
"The lighting by Trent Suidgeest is beautiful and eerie, lending a slightly surreal quality in certain scenes when the room behind the back wall is lit in cold blue."
- Australian Stage 2nd August 2014
"[Chris] More's video installation takes us up into the clouds and back down to earth, and designers Alicia Clements and Trent Suidgeest wrap a set and lighting around it that might be heaven"
-- The West Australian 12th February 2013
"Trent Suidgeest's shades of ochre lighting are often spectacular" -- The West Australian
"Trent Suidgeest has proved many times, in many genres, that he can do anything with the space and equipment at the Heath Ledger Theatre. He again pushes boundaries for Black Swan, creating lighting that works consistently in all the various scenes to effectively depict the omnipresent dust, the wind and the changing quality of light" -- Artshub
"Fiona Bruce’s design is amazing. Opening with a lowered lighting rig, the semi-industrial, draped set rises to create a strong feeling of dust hanging over multiple locales in Perth. Innovative use of hazers and excellent use of projections that merge seamlessly with the live action, add greatly to the mood. Trent Suidgeest’s stunning lighting adds to the impression of the oppressive but beautiful red cloud over the city." -- Stage Whispers
"Trent Suidgeest demonstrates his mastery of the venue’s technical potential and an awareness of the particular requirements of the art form, utilising a descending set with partially mirrored base to create further changes in framing and dimensions from scene to scene, and a matching lighting design that utilises shadow to enhance the changing moods"
-- Artshub 12th May 2014
"Their chic dream home in the Californian desert (beautifully realised by set designer Christina Smith against Trent Suidgeest's gorgeous filmic backdrop) becomes the stage for family drama when daughter Brooke returns home"
-- The Australian 26th July 2014
"Special credit must go to the design team of Christina Smith, Trent Suidgeest and Tony Brumpton, who've created a perfect replica of a sprawling Californian ranch house. The palette is all cream, wood and brick, but it remains cold and clinical, its huge living room forcing physical, as well as emotional distance between family members"
-- Sydney Morning Herald 19th August 2014
"What a set! I want to live there, in that vast, open desert haven with its floor to ceiling glass and contained gas fireplace cum coffee table! Christina Smith has outdone herself! Likewise, Trent Suidgeest’s lighting design takes us through the desert’s day and night"
-- XSentertainment 28th August 2013
"Trent Suidgeest’s lighting design, tracking time and tide in layers of colour and tone, was a thing of beauty"
-- The West Australian 10th June 2014
"The lighting is well-designed and devised by Trent Suidgeest, the shifting, changing quality of light coming through the rear windows strongly conveying the relative passing of time. The subtle small spot on the surveillance camera emphasises the intensity of the observation, a note that keeps the mood ominous"
-- Australian Stage 10th June 2014
"I've got high standards for the set design at the State Theatre. They are generally spectacular and Trent Suidgeest and Alicia Clements set and lighting for this production is no exception"
-- ABC Perth 8th May 2014
"Trent Suidgeest’s lighting design (much of which appears to be built into the set) keeps the action tightly focused"
-- Everguide 22nd January 2013
"Bruce McKiven’s set; combined with Trent Suidgeest’s lighting will take your breath away. Grandiose in scale and utilising the entire width and depth of the stage, the central area is enclosed in the ghostly oversized bare ribs of a ship....
Suidgeest’s lighting, including his brilliant use of hanging globes and hundreds of pin point lights is pure beauty. The whole production has a sepia tonal element to it, even as Suidgeest successfully manages to capture the heat and brightness of the northern Australia light. In contrast, the underwater blues and greens washed across the stage as the Divers sink down further into the depths of the ocean is equally beautiful and mesmerising."
-- Australian Stage 2nd January 2012
-- crickey.com 7th January 2012