Amy Mae Smith’s ingenious lighting design uses a mixture of candlelight and suggestive colours and it transforms the small space from shop to dark London street to the murder-central barbers.

read the full review here

Amy Mae’s lighting design fuels the atmosphere and focuses our attention on the rapidly shifting drama

read the full review here

Elena Peña and Amy Mae also deserve much praise for their excellent sound-scaping and light design respectively.

read the full review here

......., Broadway Baby
The production also makes great use of the Pond restaurant space, utilising the architecture of the restaurant to create some unexpectedly visually engrossing scenes: particular how they use the three arches between the restaurant’s two main areas. Helping this is Amy Mae’s inventive lighting design, with lovely little gems like lighting up palletes of bottled water, that lift the visual energy of the production.

read the full review here

Sweeney Todds lighting gets top marks for intimacy and atmosphere. Early sections are lit by candlelight and lanterns….

read the full review here

......., The Guardian
Full credit also to Amy Mae Smith’s lighting and Joshua Richardson’s sound design, which also manipulate the snug surroundings to great effect….

read the full review here

‘From the moment Sweeney appeared on the stairs, lit so beautifully by Amy Mae Smith, I knew we were in for a treat.’

read the full review here

Leah Fogo
‘this fleet-footed, stylishly lit affair delivers the essentials’

read the full review here

Dominic Cavendish, The Telegraph – 4 STARS
As the stage is suffused in the red lighting of Amy Mae, no-one is calling for second pies

read the full review here

I could write for several paragraphs more about the dexterity of the troupe of climbing, singing, character-swapping actors, or the tirelessness of the pianist and the accompanying violin and clarinet, or the clever use of space, and the perfectly-handled light.

read the full review here

Each slit throat is announced by red light washing across the stage.

read the full review here

Susannah Clapp, The Guardian
‘Amy Mae’s lighting is exceptional and complements the claustrophobic design from Simon Kenny. Todd’s sudden first entry, descending stairs, shrouded in darkness but with strong light tantalisingly close, is powerful and alarming, clearly establishing both Todd’s status as Revenger and the upstairs place from whence he came as ‘the bad place’. Red light is used judiciously to create a sense of sudden, sharp, bloody murder or the rapacious hunger of flames. Candlelight evokes romance and fear in equal measure.’

read the full review here

Stephen Collins – 5 STARS, British Theatre