Press Cuttings

Orphee - Linbury Sudio, Royal Opera House

"Es Devlin’s laminated-mirror set had a positively Wagnerian splendour. A narrow diagonal platform rose hydraulically to disclose a Nibelheim-like limbo below; and the fact that the audience is seated on both sides of the structure lends credence to Cocteau’s idea of travelling through mirrors into the other world. The excellent lighting was by the well-named Bruno Poet" - The Sunday Times

"In Es Devlin’s remarkable designs, imaginatively lit by Bruno Poet, the seemingly infinitely adaptable Linbury Studio takes on an entirely new configuration." - George Hall The Stage

Midsummer Night's Dream, Linbury Studio, Royal Opera House

"A series of rectangular boxes trimmed in blue neon light was all Fuchs needed, along with suitably spooky back projections, to evoke a world in which fantasy and reality were interwoven to the point of the most potent, evocative of dreams.
Fuchs was mightily aided by Niki Turner's clever designs, Bruno Poet's atmospheric lighting, Mandy Demetriou's deft choregraphy, Jon Driscoll's vivid projections and, crucially, Richard Hickox's scrupulously high musical standards." - Anthony Holden, The Observer

"Olivia Fuchs’s finely layered production is in no sense conventionally naturalistic. For the Athenian wood you get the blue-neon vertical strips of Niki Turner’s minimalist set. For Puck’s “girdle round the earth” you get a flash of light (Bruno Poet’s design) whizzing round the theatre, illuminating key Shakespeare words. And as the characters sleep, Jon Driscoll’s film projections summon up all sorts of Freudian traumas...breathtaking" - Richard Morrison, The Times

Don Giovanni - Opera North

"Bruno Poet’s darkly brooding lighting defines locales, shafts of light pitilessly revealing vicious and seedy goings-on." - David Blewitt, The Stage

"It really was a sparkling production, played out in the main in symbolic, shadowy lighting by Bruno Poet, highlighting the intimidating atmosphere of subterfuge, illicit, loveless coupling and killing." - Terry Ellis, Rotherham Advertiser

The Playboy of the Western World - Royal Exchange Theatre

'...The light that does indeed go out go out of Pegeen's life with Christy is pointed by Conor Murphy's design and Bruno Poet's sensitive lighting...Christy is more surface than substance, and that this should have been obvious almost from the first contributes to making the play the rich experience it is. Hersov has brought over a strong Irish cast ( a roguishly spirited Widow Quin from Eileen Pollock) and a crowd who come roaring on to celebrate Christy's triumphs' - The Times

"VIVIDLY REALISTIC...in Conor Murphy's shebeen, you can sense the stale stink of poteen quite distinclty from the smoke swirling around the real peat fire. His set is beautifully lit by Bruno Poet, moonlight and sunshine simply illuminating the hovel... " - The Independent

La Gazza Ladra - Garsington Opera
"Bruno Poet's lighting – all chilling whites as the climax (the heroine's apparent execution) impends – flips back to warm yellows, so that a burst of colour with the excellent chorus's return points up the sunny relief as surely as Rossini's change of key. The final chorus was thrilling." - The Independent

Rusalka - Opera North

"Niki Turner and Bruno Poet's stunning, simple designs, this is another unmissable production from Opera North" Anna Picard, The Independent

"It says much for Olivia Fuchs' staging for Opera North, lit with magical resonance by Bruno Poet, that it works so well on its own terms. Literal forests, lakes and castles may be out but Niki Turner's sparser setting, with ice cubes regularly freezing the characters into psychological powerlessness, offers its own tensions." - George Hall, The Stage