“…it has moments of real poetry: the light catching the swirling dust in the parlour; the setting sun turning Angustia’s wedding trousseau pink, as if it is already stained with blood…”

“..”the darkly lit set, black mourning clothes and hand fans, and evocative Spanish guitar mixed with ever-tolling church bells, create a compelling atmosphere of stifling entrapment and simmering resentment.”

“…the design team unlocks a counterintuitive sensuality, allowing rosy tints to flood the mercilessly clean walls.”

“Juliet Shillingford’s set, with its three huge, seperate walls, suggest restriction and creates a sense of secrecy, while David W Kidd’s lighting increases the hot-house atmosphere.”

“Inventive lighting adds much to the In the Wings production of Prokofiev’s famous tale…….

The highlight of the show is the atmospheric lighting, which transforms from a warm autumnal forest into a truly spooky place when the wolf prowls out.”

“Designer Paul Gallis provides a birch-forest which looks beautiful in the evocative colours of David W Kidd’s lighting.”

“…It looks lovely, part picture book in concept, and is expertly lit by David W Kidd.”

“Sensational effects are conjured into being by Robin Don’s design, eerily lit by David W Kidd”

“The staging is atmospheric and haunting, with few props: a ship’s mast ,a buried chest, a pair of doors at the back of the stage and various small props carried on and off. The lighting is superb, as are the costumes and music.”

“…but it is David W Kidd’s lighting design that creates the magic and supports the opera’s dramatic mood changes in an extraordinary way”

“In Roy Bell’s grand scenery and costumes; in David W Kidd’s impressive lighting; in Troel Kold’s movement and clever direction and with the secure playing of Sønderjyllands Symphony Orchestra under Lars Ole Mathiasen’s fitting leadership, a chosen group of well known soloists present Wagner’s ‘Valkyrien’ at the Denmark Ny Opera in Esbjerg.”

“Madeline Millar’s set and David W. Kidd’s magnificent lighting complete a compelling evening. The words and images linger long after the curtain has fallen.”

“Gorgeously lit and simply designed, this is an enthralling production.

“Critics Choice: ….conjuring up city apartments with minimum fuss and maximum effect.”

“Madeline Millar’s sparse and evocative set, under David W. Kidd’s beautiful lighting, comes alive for two captivating hours.”

“….there’s a great, simple set by Juliet Shillingford that cunningly conjures different times and locations as well as any 40’s film noir.”

“Atmospherically lit by David W. Kidd, Juliet Shillingford’s spare stage design — a set of verticals and horizontals evoking Chicago’s skyscrapers and it’s gridiron of streets — effectively sets the mood for Sara’s apartment, police station and a low-rent neighbourhood bar.”

“So much else was imaginative, too, in Patrick Sandford’s production: the use of live music throughout this most musical of comedies; David W. Kidd’s shadow-rich lighting; and Ti Green’s simple white set.”

“Patrick Sandford’s Twelfth Night is anything to go by, production values and verse-speaking standards are far higher than anything in the bad old days of fortnightly rep.

Sandford has the play take place on a sun-drenched beach, presumably colonial, island in the inter-war years and Ti Green’s white walled setting under David W. Kidd’s lighting not only create a sense of Illyrian idyll but is also an effective counterpoint to the play’s cruelty.”