Theatre Lighting Designer Mike Robertson is an Olivier Award Winner whose recent credits include Annie, Camelot, The Unroyal Variety, Aladdin, Sex Crime, Soft Landing and Maureen Lipman, Up For It!
Even before any of the actors present joined in, though, we were also aware of other players in this splendid game: the miracle that was Mike Robertson's lighting design - a sumptuous feast of changing patterns and densities
BROADWAY WORLD, Honeymoon In Vegas
Bathed in glorious Mediterranean sunshine and sunk in shadow by lighting designer Mike Robertson
The Stage, Much Ado About Nothing
It's dark and it's broody, as befits Dickens' tale of poverty, wealth and unrequited love. Mike Robertson's lighting is a technical triumph
The Stage, Great Expectations
an elaborate impressionistic dance that moves at a stately pace beneath the stark shadowplay of Mike Robertson's lighting but which never loses clarity
The Herald, Great Expectations
It's a thing of beauty especially under the lantern light of Olivier award winning lighting designer extraordinaire, Mike Robertson who paints with light with all the wit and skill of Claude Monet.
Fourth Wall Magazine
The lighting enhances the production wonderfully.
Beautiful and sympathetic lighting by Mike Robertson.
Berkoff's production is all about the eloquent lighting by Mike Robertson.
It's beautiful to look at, Mike Robertson's lighting.
The set is incredibly simple, yet effective and the lighting used to great effect.
Berkoff's direction borders on choreography in a stylistic production that makes storytelling its priority - subtle lighting shifts and a disconcerting soundtrack played live from the wings enhancing the tension.
Congratulations to Mike Robertson, lighting designer, whose lighting effects add so much.
The lighting adds magnificently to the ambience.
Mike Robertson's imaginative lighting.
The production design is appropriately stark; Mike Robertson's lighting effectively aids atmosphere without intruding.
Fourth Wall Magazine
The lighting is flawless.
If you have ever seen a badly lit play then you know how it can detract from the action. In Oedipus, Mike Robertson has got it exactly right.