“Leipacher tears down the fourth wall brick by brick and expanding a sense of paranoia through the audience, flirting with reality and fiction. He establishes a peculiar relationship between these two degrees, using Chris Withers’ sharp and unforgiving lighting design to frame the tangible and having Christopher Hughes’ fidgety Ripley shape the original material. The result is an enthralling example of storytelling.”  Cindy Marcolina, Broadway World

“James Perkins designed the enviably cozy set, which is destined to be thoroughly trashed; Chris Withers did the evermore nightmarish lighting, with sound effects to match by Max Pappenheim”   Ben Brantley, New York Times

“Chris Withers’s minimal lighting design mirrors Ripley’s psychosis well; a simple darkened stage and a spotlight works, and he knows it.”  Shawna Warmington-Brown, The Upcoming

“Chris Withers’ lighting design fits the piece wonderfully.”   Jacob Bush, Northwestend.co.uk

“striking chiaroscuro lighting design”   Lettie Mckie, Londonist.com

“Lighting designer Chris Withers has had a lot of fun with this show which is imaginatively and atmospherically lit especially during the vault scene at the end which makes effective use of candles and tiny spots.”  Susan Elkin, Whatsonstage.com

“As ever, the ensemble manage to do a lot with a little, transforming the stylish, stripped back design – just a raised white rectangle, supplemented by Christopher Withers’ evocative shafts of light – into countless different settings.”  Catherine Love, Exuent

“The lighting design by Chris Withers is equally stunning, working beautifully with the set and Max Pappenheim’s subtle sound design to evoke the heat of the Italian sun and the coolness of the water lapping beneath the raised stage.”  Jo Salkilld, Jo Salkilld

“Another note of praise must go to Chris Withers for his Lighting Design within the production. Given the restraints of the Kings Head, he attempted and succeeds in producing the various atmospheres and locations within the show. This is seen during the nightmare sequences where the use of cold shafts of light break apart the stage and heighten the action.”  Jake Orr, A Younger Theatre

“With beautifully-lit scenes fluidly flitting between waking drama, imagined nirvana and fitful dreamscapes.” Josh Winning, QX Magazine

“The simplistic but symbolic use of light by Chris Withers sets off the text, adding another dimension to the story and building on the moods of Munroe, with a strangely cathartic effect on the audience as they journey with him. The only set is a desk chair and a cardboard box which means that the creation of trees, streets and rooms is left wholly to Kinsler, with Withers washing emotive colours on a screen.” Tiffany Stoneman, A Younger Theatre

“A delightful representation of a Victorian stage, is flatteringly lit by Chris Withers.” Oliver Valentine, UK Theatre.net

“In this largely empty space, the brilliant work of lighting designers Chris Withers (Hamlet and Thebes) and Matthew Graham (The Robbers) is crucial in carving up the scenes, skillfully offering both shape and atmosphere. Light spills in from offstage, casting interesting shadows, or glows dimly from a single, dangling light bulb. In line with the morbid subject matter, gloomy visual landscapes abound.” Catherine Love, Exuent Magazine

“Chris Withers’ lighting design merits a mention too, managing as it does to locate the action despite the sparse staging.”  Matt Trueman, matttrueman.co.uk

“Chris Withers’ sculptured lighting design cuts up the empty space into an architectural landscape that is both epic and intimate.”  Honour Bayes, The Stage