|
Parade
The Vault, Southwark Playhouse | 2011
"The
gloomy vaults add to the atmosphere of John Risebero's clever design."
Lyn
Gardner, The Guardian
"The
staging in traverse with balustraded balconies at each end works extremely
well beneath the Playhouse's railway arches ... Designer
John Risebero and lighting and sound designers Howard Hudson and Theo
Holloway all contribute to create a steamy hot, slimily corrupt atmosphere."
British Theatre Guide
"It is interestingly designed by John Risebero. The
staging is brilliantly flexible in evoking a huge range of locations
both indoors and out ... and there’s some clever use of the platforms
at either end to keep a nifty variation to proceedings, maximising the
potential of this space."
The Public Reviews
"John
Risebero’s design is simple but effective – traverse staging
with an exposed wooden floor flanked by platforms and a staircase which
Howard Hudson’s lighting exploits."
Gay Times
"A
triumph for all concerned, not least lovers of quality theatre."
Fiona Mountford,
Evening Standard
The
Diary of Anne Frank
Broadway Theatre, Catford / Upstairs at the Gatehouse
| 2011
"This
revival owes much to John Risebero’s sprawling set of beds, boxes
and cubby holes - a claustrophobic yet homely hideaway for Anne, her
family and their friends, as they attempt to escape the persecution
of the Jews in Nazi-occupied Holland."
The
Stage
"Designer
John Risebero has done a superb job in realising the attic ... The real
stroke of genius is in making us experience the cramped space as the
characters do. The design is a series of angles using levels for communal
and private space, but with a symmetry that is both practical and theatrical.
Bedroom areas are raised but at different angles to each other, so they
appear linked yet isolated."
Extra!
Extra!
"John Risebero’s cleverly designed set and Howard Hudson’s
lighting contribute enormously to the claustrophobic atmosphere."
Ham & High
The
Lion, the Witch and the Wardrobe
St Stephen's, London | 2009
"At
the centre of the innovative costumes and scenery is the enormous wardrobe
- almost a character in itself, which is the highlight of a stunning
set. Using the rest of the church as an extension of the stage in the
second half is an inspired move and one that will no doubt be utilised
again in this magnificent setting."
The Stage
"Charismatic lion-king Obioma Ugoala benefits from a marvellous
long entrance, as the back-wall of the stage opens to reveal the apse
beyond, bathed in golden light. One
small person near me responded to the revelation of Aslan's return with
a loud gasp of awe, as the primitive magic of a communal desire to believe
started to catch hold of the audience."
London
Theatre Blog
"This
original production has some truly magnificent points of interest. A
faultless set, meticulous costume and polished performances from an
experienced cast did full justice to CS Lewis's wartime children's fantasy.
The costumes are exquisite, ranging from see-through wire frame unicorn
masks, wonderfully lit secret police wolves, and the African majesty
of Aslan."
Camden
New Journal
Romeo and Juliet
Jermyn Street Theatre, London | 2008
"This
fast-moving production … is always clear and, at its best, as real
and moving as if it had never been seen or read before."
The
Stage
"Designer
John Risebero deserves a medal of minimalism for his lovely set. His
opening and closing scenes … are bookending masterpieces of chilling,
spine-pricking emotion."
Fringe
Report
The Importance of Being Earnest
Jermyn Street Theatre, London | 2007
"John Risebero's stage design is one of the best I've seen
on the fringe."
Time Out
The Shakespeare Revue
New End Theatre, London | 2006
"John Risebero's sparkly set and Howard Hudson's neat lighting
give a professional polish to the production that entertains."
The Stage
|
