Whatsonstage

“Tim Mitchell’s lighting especially good design are all terrific”

AussieTheatre.com

“Made a technical conundrum seem like a non-issue and was enhanced by Tim Mitchell’s lighting design.

Broadway Ballet performance came to life thanks to the bright neon signs and colourful light backdrop by Tim Mitchell (Lighting Designer)”.

Financial Times

“The Wells stage appears twice its usual size thanks to strong, intelligent lighting from Tim Mitchell that guides us around the handsome, uncomplicated set. It allows rapid-fire scene changes”

Melbourne online

“Tim Mitchell’s lighting is an integral part of the design, with backlit panels throughout the backdrop and solidly constructed legs. Lighting is also carefully placed to maximize the visual impact of the rain”.

Whatsonstage

“Designer Alice Power and lighting designer Tim Mitchell also use their skills to ramp up the humour”

Online theatre Review. Theatre fan.com

“The staging of this show is simple yet effective, littered with visual gags, aided by clever lighting choices by lighting designer Tim Mitchell”.

Opera Today

“Sea and sky merge magically on the tall side-flats, just as the real and fantastic blend in the action, and sunny noon fades to evocative night (lighting design, Tim Mitchell)”.

The Article

“Greek designer Takis, superb lighting by Tim Mitchell, and Lizzi Gee’s choreography were all a delight”.

Seen and Heard International

“Colour to fill the huge stage of ENO – Tim Mitchell’s changing lighting”

Opera Today

“The bold lighting from Tim Mitchell picked out moments of action, flickering then blinding changes confusing and dazzling, like the war itself”

Plays to See

“The production also afforded the set designer a broad canvas in which to let rip. And they did just that coming up with some amazing stuff, mostly dominated by a grand, ducal-type, war-torn palace. Admirably complemented by Tim Mitchell’s lighting and Ingo Krügler’s costumes, the overall stage picture was bleak and unattractive highlighting a country at unease with itself.”

The Guardian

“His final sets and costumes (with lighting by Tim Mitchell) may elicit the most enduring pleasure”

Opera Review

“House of Lords, all Pugin high gothic carved wood and red velvet. Delightfully silly stuff and given the perfect flush of lighting from Tim Mitchell with flashes of period references”.

 “Paul Brown’s design is beautiful. A Luxuriant floral, warmly illuminated by Tim Mitchell”

The Guardian

“it is superbly lit by Tim Mitchell who creates astonishing images through diagonal lighting or fierce overhead wattage”

Online

“lit with its own distinctive bite by Tim Mitchell to the alternately ceremonial and elegiac strains of Julian Philips’ original score”

London Theatre

“Doran’s direction is very true to Miller’s words, though it is very often difficult to differentiate between what is present and what is a flashback. Though there are lighting changes (the play is lit very well by Tim Mitchell)” 

British Theatre.com

“The lighting by Tim Mitchell reinforced a film noir feel to proceedings”

Financial Times

“Set and Lighting designer Tim Mitchell deploy trapdoors and gentle magnolia washes to transport us to assorted inhabitants between-lives streams”

Whatsonstage

“Tim Mitchell’s lighting and Paul Englishby’s superb, jazzy and lyrical music come as close to those details, without cravenly reproducing them, as in any production I’ve seen”.

The Guardian

“Willy’s jagged excursions into the past and is reinforced by Tim Mitchell’s lighting which gives the set a sudden transparency as we go inside Willy’s head”.

The Kirkville

“Tim Mitchell’s excellent lighting helps shift the scene from the present to the past, focusing on each section of the stage as necessary”.

The Times

“with only his Fool for company, as the rain (conveyed by Tim Mitchell’s lighting effects) swirls around him and he rages like a biblical Elijah”

“Tim Mitchell’s lighting, not to say lightning, gives us an ever-changing atmosphere”.

The Guardian

“Tim Mitchell’s lighting creates ecclesiastical arches that seem to grow out of a briar-scored sky”.

The Arts desk

“Lighting designer Tim Mitchell’s ’s wonderfully suggestive transformations in outdoor atmospheres and colour (storms, explosions, woods)”

Stage Reviews.com

The shimmering set design and costumes look fabulous, Tim Mitchell’s lighting adds atmosphere aplenty. With imposing performances from noblemen and peasants alike, it’s a Henry that sits well within the long line of Stratford greats

The Younger theatre.com

“The set is both intimate and grand, the lighting design of Tim Mitchell transporting us from majestic cathedral to royal bedchamber”.

British theatre.com

“Tim Mitchell’s lighting is truly excellent, adding depth and perspective, and true style, to many of the scenes”.

Stage Reviews.com

“There’s decaying elegance in the stunning designs and Tim Mitchell’s unobtrusive lighting”

Daily Telegraph

“Tim Mitchell’s exquisite lighting makes virtuoso use of shadow and Matthew Scott’s nerve-twanging score is the musical embodiment of dread”.

Daily Mail

“Tim Mitchell’s dramatic lighting design opens with a shaft of angled light illustrating a prison corridor on a largely bare stage”.

Stage Reviews.com

“The gorgeous design gives us greenhouses, great halls and artists’ boudoirs with all the handsome panache of the era. Lighting designer Tim Mitchell shows them all off to beautiful advantage”

Theatre Review

“beautifully lit by Tim Mitchell, makes a stunning impact”

The Times

The time has created a blasted heathland underneath streaks of yellow, dusty sky that resemble the latest images sent back from the surface of Mars. Tim Mitchell’s austere lighting augment the otherworldly atmosphere”

 “Tim Mitchell’s lighting also come to the fore in the second half, as an eerie echo resonates from Winnie and a ghostly light illuminates her deathly face.”

The Colour Palette and Subtle unusual atmosphere created by Tim Mitchell’s Lighting effects, perfectly accompanies the plays exigences”

“The first and second halves are made magnificently different – by Dwan and by Tim Mitchell’s spectacular lighting”

Broadway World

“Tim Mitchell (Lighting Designer). It is very apparent that this production is an extremely collaborative piece of theatre and all creatives have excelled in pulling together to achieve this.”

Behind the arras .com

“All Helped by an impressive lighting design from Tim Mitchell”

The Washingtonian

“Lighting designer Tim Mitchell deserve kudos for creating magic with scrims and spots to reproduce summer in the Catskills complete with mountain views, glorious sunsets, and sudden showers.”

Whatsonstage.com

“A special mention must go to Tim Mitchell, for a stunning lighting design”

Orlando Weekly

“Tim Mitchell’s dynamic lighting turning makes scene changes feel like film cuts”

The Guardian

“Tim Mitchell , whose skills with lighting and scrims shuffle the action adroitly between different scenes and time zones”.

The Daily Mirror

“Generally, the set and costumes are simple and unfussy but Tim Mitchell’s effective lighting create a haunting atmosphere”

The Times

“Tim Mitchell’s subtle lighting adds to the effect of a magical underwater world where sea men and women waft and ripple and surge in aqueous-coloured skirts”.

“Kudos, too, for Tim Mitchell’s radiant lighting”.

The Times

“Tim Mitchell’s lighting is gorgeous and sun-baked”

The Times

“The charged atmosphere is enhanced by Tim Mitchell’s lighting design”

The Times

“Tim Mitchell (lighting) provide a perfect setting for her fresh, lively direction of a sympathetic young cast”

The Times

Tim Mitchell, devises a spectacular star-spangled backdrop, inspired by Schinkel’s famous drop for the Queen of Night’s scenes in his Berlin production of The Magic Flute

The Times

The players’ dumb-show is very funny, the music perfect, Tim Mitchell’s lighting design nonpareil — vanishing arches, stars, bars of light converging towards infinity, pitch-black moments and eerily lit faces