"Multiple sources of lighting from ceiling, floor and the wings enveloped the performance space – with illumination heightening the visceral emotions evoked in each scene. The final glow of lighting effects used to close the play were spectacular and poignantly rounded off the show."
Douglas Robbins- Arts Hub
"...the creative team were the most spectacular storytellers, with designers Simona Cosentini and Simone Tesorieri, alongside award-winning lighting designer Jason Glenwright creating such an impactful atmosphere through simplicity and focus."
Virag Dombay- Broadway World
"Design by Simona Cosentini and Simone Tesoreri, lighting design by Jason Glenwright, and sound design/composition by Kim Busty Beatz Bowers really turned this production up to eleven."
Elise Lawrence - Limelight
"Just as the storytelling creates deceptive subtlety through simplicity and focus, so designers Simona Cosentini and Simone Tesorieri and lighting designer Jason Glenwright achieve maximum impact through unpretentious means, an illumination of a scene location on a scoreboard or a snap-cue in the lighting being all that’s needed to establish time and place."
Martin Buzacott- The Australian
ELIZABETH I
"Jason Glenwright’s lighting design is a key player in the comedic precision of the transformation of Elizabeth and the worlds."
Kyle Walmsley- Arts Hub
"Jason Glenwright’s lighting design holds the shows’ realistic beginnings together with imaginative depth, as well as exploiting moments of mystical proportions with sophistication and pertinence. Glenwright goes from creating simple yet beautiful atmosphere to exploring eery environments to differentiate the Elizabeth psyches. Through smooth alterations and understated overlays Glenwright progresses from playing with sparkling disco dance floor or flashing thunderstorm to splitting the stage and the characters’ essences visually through juxtaposing green and orange hues. As distinctly different colours cast across the space and divide Burton’s body, the Burton’s physical performance of the two Elizabeth’s is extended into a purposeful yet beautiful manipulation of space."
Rhumer Diball- XS Entertainment
"Glenwright’s lighting is astute, illuminating the separate journeys the two have taken."
Cameron Pegg- The Australian
"Matt Schoulten uses Jason Glenwright’s lighting to cut, punch and reinforce the character impact of the strong cast in a tightly orchestrated creative balance. Sensitive patrons should be aware that the lightning techniques can be sudden, intensive and startling."
Jan Lahney- Cairns Post
"Spare but clever lighting by Jason Glenwright is a treat."
Phil Brown- Courier Mail
"Jason Glenwright’s lighting design, for example, is everything it needs to be: bold, beautiful and perfect in accompaniment of the show’s changing musical moods.."
Meridith Walker- Blue Curtains
"Jason Glenwright, the lighting designer, who can be relied upon to find the exact illumination to fit the changing moods of the plays he lights."
Glyn Davies- Arts Hub
"and the lighting by the talented Jason Glenwright really sets the mood throughout the play."
Michelle Beesley- She Brisbane
"and some amazing lighting effects from Jason Glenwright."
Eric Scott- Absolute Theatre
"Jason Glenwright’s delicate lighting created a chill and darkness that loomed over the entire space."
Rhumer Diball- My City Life
"Jason Glenwright (lighting) kept total faith with his intentions. The lighting was chillingly atmospheric, adding specific focus to the set design and the main action of the characters."
Suzannah Conway- Arts Hub
"Jason Glenwright’s lightscape is good and that final fade to blackness makes you shudder a bit because, well, it’s the end and we know that end comes to us all, sooner or later."
Phil Brown- Courier Mail
"Jason Glenwright’s lighting design makes a parallel contribution with its sunny yellows at the start when the pub is yet to open, moving on to sickly pale greens as the sinister elements of the action come to the fore."
Glyn Davies- Arts Hub
THE TRAGEDY OF KING RICHARD III
"The technically ambitious design is captivating in its realisation, full of powerful visual imagery thanks to Jason Glenwright’s smooth lighting design."
Meridith Walker- Blue Curtains
WUTHERING HEIGHTS (National Tour 2016)
"The set design by Josh McIntosh with lighting design by Jason Glenwright not only transforms locations and timelines but enhances the vibe."
Adrienne Gross- Australian Stage
"Jason Glenwright (lighting) and Guy Webster (sound) combine to intensify the theatricality of the production with unnerving effects that flash and vibrate – and, momentarily, fix chilling images in bright, white light."
Carol Wimmer- Stage Whispers
"Under the direction of designer Josh McIntosh, lighting designer Jason Glenwright and sound designer Guy Webster, the set sparkles with wonder for both the old and the young."
Madeleine Dale- The Creative Issue
"The design dream team kick goals with their artistic collaboration.Lighting Designer Jason Glenwright lends his usual flair to the production creating some wonderful visual moments throughout the show."
Paul Dellit- Stage Whispers
"Guy Webster and Jason Glenwright are again epic in their sound and lighting achievements, transitioning the story from its fairytalesque opening to wizard-like magical potionery through a mass of lighting cues and a catchy soundtrack to move the action along."
Meridith Walker- Blue Curtains
RUMOUR HAS IT- Sydney Opera House 2016
"It looks good too, simply but stylishly staged with a galaxy of hanging lampshades."
Jo Litson- Scene and Heard
"Jason Glenwright’s lighting is extraordinarily effective, mostly dark and gloomy with lightning flashes and crashes."
Lynne Lancaster- Arts Hub (2017)
"Jason Glenwright's suspense filled Lighting Design."
Jade Kops- Broadway World (2017)
"What's used is used well, with each of the elements tying together organically; from lighting, to costumes, to sound design."
Charlene Li- Arts Hub (2015)
"Jason Glenwright's lighting design is riveting enough to send a chill up your spine just on its own."
Brian Adamson- Stage Whispers
"The lighting recreates Harker’s psychological distress well, keeping recesses of the stage in deep shadows."
Ragina Staier- The Creative Issue
"Swirling mists and dark leering shadows, blanketing the stage with the right amount of light to truly capture the gaslight era."
Chad St James- Same Same
"The lighting gives just the right degree of sinister gloom."
John Andrew- The Weekend Edition
"Jason Glenwright’s ingenious lighting states. A dark and sombre journey, unrelenting, with the only light and shade coming from Glenwright’s lighting design (doors opening with a shaft of light sans door?! It’s really incredible work, his best to date)"
XS Entertainment- Xanthe Coward
"This one piece of ‘smoke and mirrors’, allowed Jason Glenright’s lighting design to paint pictures that will haunt your dreams."
Aussie Theatre- Bobbi-Lea Dionysius
"Lighting represents some of Jason Glenwright’s best work. As white light pours through windows and doors to puncture the darkness, a sense of space is created that belies that Cremorne theatre’s small stage."
Blue Curtains 18/08/2015
"Designer Josh McIntosh, lighting designer Jason Glenwright, sound man and composer Guy Webster and costume designer Leigh Buchannan have worked together often before and obviously have a strong rapport, but never in the past have they combined to such stunning effect."
Absolute Theatre by Eric Scott
ROALD DAHL'S REVOLTING RHYMES & DIRTY BEASTS
"...dazzling lights and laser effects from Jason Glenwright’s great lighting plot."
Absolute Theatre by Eric Scott
"In a previous life, Jason Glenwright must have been a rock star because he sure knows how to light one."
XS Entertainment- Xanthe Coward
"Brisbane’s most creative production design team power-up again – Designer Josh McIntosh, Lighting Designer Jason Glenwright, and Sound Designer Guy Webster – to create an inspired presentation"
Aussie Theatre- Bobbi-Lea Dionysius
IS MY LIPSTICK ON STRAIGHT?
"...without Jason Glenwright’s lighting (and, believe it or not, there were working footlights to this production) the set would not have appeared so gorgeous or so workable for Gem’s fast-changing moods and memories."
Artshub- Glyn Davies
"The tale begins with the big bang, which is breathtakingly executed by the puppeteers and Jason Glenwright's lovely lighting design."
Weekend Notes- Kiesten McCauley
"Clever use of Ray Pittman’s multiple projections within the set and Jason Glenwright’s subtle lighting design provide visual enhancement to the environment"
Arts Hub- Flloyd Kennedy
STEWED
"The Lighting was a highlight of the production with flashes of neon colour highlighting the stage set of the tearoom."
The Cairns Sun- Kylie Reghenzani
"Jason Glenwright conceived a complex and atmospheric lighting plot"
The Blurb Magazine
"Lighting designer Jason Glenwright and sound designer Guy Webster created a memorable opening to the show that immediately grabbed our attention mid-conversation. From those penetrating thunder-claps and lightning-bolts that snapped to black and shocked the senses, I braced myself for a thrilling horror story."
Aussie Theatre- Bobbi-Lea Dionysius
"Jason Glenwright’s lighting also showed an intelligence and subtlety and contrasted this with garish greens, blood splattering reds and pulsing lights to alter mood and psyche."
Artshub- Sue Hayes
"Jason Glenwright’s spooky lighting, were pivotal in the success of the show."
The Blurb Magazine
“The fifth cast member is the marvellous set and lighting design…” “…Jason Glenwright’s smooth lighting design allows audience members to fall into the play.”
Natalie Bochenski- Brisbane Times
"Jason Glenwright's lighting design and Dann Barber's shoebox set conjure multiple wonders"
The Australian
TEQUILA MOCKINGBIRD
"…all initial doubts about Tequila Mockingbird are dispelled from the top of the show, when Josh McIntosh and Jason Glenwright practically ignite their amazing set, the first of many breathtaking demonstrations of the respective stage and lighting designers working to compelling effect."
The Australian- Martin Buzacott
"Lighting, by Jason Glenwright, is a highlight of this production—the lighting during the courtroom scene being particularly noteworthy. However, it’s the combination of lighting and set that occasionally drew gasps of wonder from the audience with lights embedded into the set’s tiled walls cleverly used throughout the play."
Aussie Theatre- Dan Betts
"Jason Glenwright's lighting design is fundamental to the success of this play. Light, half light, colour and silhouette are employed to great atmospheric, symbolic and dramatic effect. Darkness or semi darkness helps convey the grimness of the Animals lives while Glenwright saturates the chilling show trial scene with a blood red light.”
Canberra Times
"The lighting was so delicate it melted into the restrained and elegant set."
Realtime, Kathryn Kelly