My Cousin Rachel

 

‘…..the production looks wonderful, using a detailed, rotating set to portray the family's estate, the rugged Cornish coastline and the interior of the house. David Plater's lighting is a brilliant compliment to this and atmospherically shows mist coming in from the sea, stormy skies and soft candlelight.’

Broadway World

 

The Outsider

 

‘David Plater’s magnificent lighting design provides the limitlessness of the sea, and, then, in a second, the confines of a prison cell.’ The Reviews Hub

 

‘Richard Hudson’s stark set design combines with David Plater’s stunningly hazy lighting to enhance the sense of a world drained of significance.’ The Arts Desk

 

This is my Family

 

‘Richard Kent’s design is cute and appropriate for the cute style of the writing, music and direction. It’s best feature is the way it serves the dual purpose of representing present and past and David Plater’s excellent lighting heightens that effect.’ British Theatre Guide

 

Silence of the Sea

 

‘….the production makes haunting use of sound by Gregory Clarke and Lighting by David Plater.’ The Telegraph

 

‘From David Plater’s shafts of light cutting through the slatted-wood ceiling of Ben Stones’ minimal set… The Silence of the Sea is nicely illustrative’ Variety

 

Musik

 

‘I love the venue – with its spacious, comfortable seating and twin bars in the auditorium giving an authentic floor-show feel to what is essentially a cabaret and David Plater’s lighting design complements this and adds a touch of Pet Shop Boys arena tour disco feel at appropriate moments’ Londontheatre

 

Mrs Lowry & Son

 

‘Thanks to Wright’s direction, the rich, comedic portrayals by Begley and Watson and evocative scenography by Richard Kent and David Plater that overlays life in Pendlebury with Lowry's artistic view, Mrs Lowry & Son poignantly captures the vision of a painter who remained deeply amused and saddened by a life in which nobody, including the artist and his class-bound mother, 'is free’ British Theatre Guide

 

Richard II

 

‘richly evocative lighting’ The Telegraph

 

‘David Plater’s lighting is practically Damascene at important moments’ Time Out

 

‘illuminated by David Plater’s subtle lighting’ which at its best looks like an artistic tableau' British Theatre Guide

 

‘David Plater’s glorious lighting makes the tiny space of the Donmar look like a Rembrandt painting’ Playbill

 

Macbeth

 

‘exquisitely lit by David Plater to resemble a Caravaggio’ The Telegraph

 

‘some wonderful uses of lighting (courtesy of lighting designer David Plater)' Broadway World

 

‘The action throughout was brilliantly lit’ The Independent

 

‘It’s lit beautifully’ The Stage

 

‘stunning lighting’ The Yorkshire Times

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‘Dramatic use of low cross lighting adds to the effect and sudden vertical shafts of light delineate areas and important moments in the action’ British Theatre Guide

 

Tosca

 

‘A beautiful lighting design’ British Theatre Guide

 

‘Francis O’Connor’s austere sets and David Plater’s vivid, sometimes stark lighting, provide some fine stage pictures, especially in the closing scene.’ MusicOMH.com

 

‘The hero’s of the evening, though, were designer Francis O’Connor, creator of some evocative three-dimensional sets, and David Plater, whose spectacular lighting lent a sheen of class to the stage picture.’ Whats on Stage

 

Un Ballo in Maschera

 

‘David Plater’s striking lighting designs’ British Theatre Guide

 

Romeo et Juliette

 

‘David Plater's superbly variegated lighting scheme.’ Whatsonstage

 

‘expertly lit by David Plater.’ Critics Circle

 

Die Walküre

 

‘Coupled with David Plater’s sensitive lighting design, Jamie Vartan’s set effectively takes on mulitiple locations with minimal changes in props.’ British Theatre Guide

 

‘It’s a single-set affair – a large balconied room of a stately home. But set designer Jamie Vartan and lighting designer David Plater create so much variety that it is easy to forget that there are only minimal prop changes between the acts’ The Arts Desk

 

‘under David Plater's subtly institutional lighting it all works remarkably well.’ Whatsonstage

 

‘David Plater’s lighting translates us to a scene of nocturnal witchery’ Operatoday.com

 

The Divide

 

‘This is a stunningly designed show and an absolute masterclass in stagecraft. David Plater’s lights and Ash J Woodward’s video are used to wonderful effect, particularly in the scenes set at a waterfall.’ britishtheatre.com

 

‘scene-enhancing lighting by David Plater’ Variety

 

‘From Doherty and Davies to David Plater's monochrome lighting to Lucy Hind's stylised movement everything about it is of a high standard.’ The Stage

 

‘imaginative and meticulous lighting’ thespyinthestalls.com

 

‘Throughout the drama, a combination of exceptionally clever lighting and use of stage drapes and theatre curtains, ensure slick stage transitions while reinforcing the close relationship these characters share with the written word. From diary extracts to the council minutes, emails between officials and even artistic sketches and drawings, the projection of moving images and words, that even flow along a drape as someone drags it across stage is very impressive and highly effective. Lighting is also used to essentially reflect and suggest characters’ emotions and works particularly well to suggest a waterfall in later scenes.’ The Reviews Hub

 

‘scene after beautifully lit scene,’ Telegraph

 

The Mother

 

‘…impressively realised with the help of designer Yann Seabra, lighting designer David Plater, and musicians Frank Moon and Dave Price…’ The Guardian

 

‘David Plater’s lighting and haze, especially as seen through the set’s opening doors, is profusely melodramatic.’ writingaboutdance.com

 

‘ghoulishly lit by David Plater.’ British Theatre Guide

 

‘…David Plater’s lighting further swelling the atmosphere,’ The Telegraph

 

Ingoma

 

‘The lighting (David Plater) draws the space down, the row of amber lights creating a ceiling while the headlamps pierce the darkness’ Seeing Dance

 

‘David Plater’s lighting emphasised the works impact’ Dance Tabs

 

‘David Plater’s striking lighting’ British Theatre Guide

 

The Suit

 

‘David Plater’s cleverly zoned lighting enhances Marston’s cinematic storytelling’ Financial Times

 

‘the raging passion and jealousy that uses David Plater’s light and shadow like a film noir to create a tone of foreboding’ The Reviews Hub

 

Red Riding Hood

 

‘David Plater’s lighting sets the mood’ Financial Times

 

‘clever, menacing use of silhouettes by lighting designer' David Plater’ bachtrack.com

 

‘Yann Seabra’s designs and David Plater’s lighting direction are crucial: silhouetted shadows, a luminescent moon and forests of helium balloons combine with a medley of French songs and sounds of playing children to create a powerful sense of nostalgia in this joyful piece….’ The Independent

 

Limbo

 

‘David Plater’s lighting cuts paths of light overhead, then shifts to spotlight Jacob Wye, who dances with swooping arms and quick attack’ The Independent

 

Dream within a midsummer nights dream

 

‘David Plater’s lighting does fine work substituting for elaborate sets.’ British Theatre Guide

 

Captured

 

‘David Plater’s lighting is smoky, a grim uneasy environment.’ British Theatre Guide

 

Second Coming

 

‘…the lack of set is compensated for by some dramatic lighting and projections by the company’s own David Plater’ Dance Tabs

 

Indigo Children

 

‘The mood is relaxed and sunny, matched by David Plater’s glowing lighting design.’ The Independent

 

Porgy & Bess

 

‘David Plater's lighting is expressionist’ The Stage

 

‘……the location is brought to life by David Plater’s rich, sun-drenched lighting designs’  British Theatre Guide

 

‘David Plater's lighting is rich and atmospheric, deep golden for the September morning, darkness hewn by lightning for the hurricane’ The Arts Desk

 

Beautiful Thing

 

‘David Plater’s innovative lighting design paints the oppressive humidity of the hot summer, evoking an insufferable breeding ground for mischief and dreams’ Fourthwall Magazine