scene changes are subtly underscored by Sherry Coenen’s lighting
Lucy Popescu, Islington Tribune 15/08/2024

Jez Bond’s production fuses the technical elements (Melanie Wilson’s omnipresent, discreetly threatening sound score and Sherry Coenen’s fast-changing neon lighting states are particularly persuasive) into a satisfying whole.
Alun Hood, Whats On Stage 07/08/2024

A jagged, abstract scaffold of fluorescent lighting tubes hangs overhead, illuminated in Sherry Coenen’s bold lighting to clearly mark the frequent jumps between different times and locations. Pale steely blue represents a hospital, deeper indigo suggests night-time streets and vivid magenta implies bars and restaurants. A burnished gold glow filters in during passages when Tara vents her unspoken rage, cutting out when she resumes the calm, collected demeanour she is forced to project in order to be taken seriously. In the play’s most affecting sequence, Day gives a crushing speech under brilliant daffodil-yellow dappling, symbolising the joy that was drained from her life in a single sickening act of sexual violence.
Dave Fargnoli, The Stage 07/08/2024