The lighting design by Ben Cracknell is top class and befitting a West End show. Sunset Boulevard is predominantly dark and moody but suddenly switches instantly into a state of brilliance and much more. The lighting is more than impressive and at times quite breath-taking. From this premiere showing of Curve’s Sunset Boulevard Cracknell appears to be a lighting artist at the top of his game.

EAST MIDLANDS THEATRE

The lights, designed by Ben Cracknell are brilliant from cool eerie shadows to dazzling showbiz bulbs; a clever storyteller and indicator of reality and delusion.

REVIEWSHUB

Ben Cracknell’s lighting is wonderfully dynamic, changing the mood with speedy shifts in colour and intensity depending on the location. What this allows for is that the set almost becomes a character in itself, each with its own distinct personality – for example, Norma’s mansion is dark and brooding, lit with sparse spotlights and candles.

BROADWAYWORLD

Colin Richmond’s design, a fabulous staging zooming in one minute on Norma’s over-the-top residence complete with grand staircase to a film studio lot the next………is beautifully complemented by Ben Cracknell’s lighting design

WHATSONSTAGE

The production maintains a sense of old Hollywood glamour. This is further emphasised by Ben Cracknell’s lighting design, which is full of glorious brightness and warmth, and serves to increase the filmic aspect of the production design

TALK STAGEY TO ME

Colin Richmond’s expansive and clever design – eloquently lit by Ben Cracknell

ALLEDINBURGHTHEATRE.COM

Technically it’s spot-on too. Adrian Kirk’s 16-piece orchestra is glorious, as are Tom Marshall’s sound, Ben Cracknell’s cinematic lighting and Colin Richmond’s clever set, again blurring the boundaries between film set and reality.

LEICESTER MERCURY