Sherry Coenen’s lighting also does well to augment moments of The State vs John Hayes, creating different colours and tones for when certain personalities are being explored. These prick your visual attention, but never take away from Roslyn’s performance, merely adding atmosphere and definition to some of the things that are going on rather than distracting or being overbearing.
JWaygood, Grumpy Gay Critic 02/11/2015

It’s an extraordinary physical performance from Roslyn, cleverly enhanced by Sherry Coenen’s lighting, as the two facets of her self are delineated but also marked as two ends of the same gender-fluid spectrum as opposed to two separate personae
Ian Foster, There Ought To Be Clowns 31/10/2015

Lighting Designer, Sherry Coenen made a brilliant contribution with her expert timing.
Heather Jeffery, London Pub Theatres 30/10/2015

It’s a disjointed and fragmented tale that is often difficult to follow, though that only feeds into the notion of the character’s psychiatric imbalance, mirrored by subtle changes in lighting
The Gizzle Review 30/10/2015

Lighting designer Sherry Coenen reminds us of John’s threatening presence with greenish pulses when Elyese is struck with a crippling back spasm, a symbol of the control he has over her. The subtle heartbeat in dangling filament lights is Elyese’s, which will cease all too soon as electricity surges through her slender, fragile-looking body.
Laura Kressly, The Plays The Thing UK 30/10/2015