"Ali Allen (sets) and John Bishop (lights) pour on the Gothic atmosphere. We see castle ruins and arches, gnarled and spiked cemetery gates or beds with threateningly tall, shredded frames looming above them. The lighting ranges, approprietely, from blood-drenched to weak and pearly."

Donald Hutera The Times 2005-09-06

"The deisgns look like sets from expressionist cinema, with Ali Allen's elongated gothic arches and stylised cemetery perfrctly lit (or rather shadowed) by John Bishop's gloomy lighting."

Sanjoy Roy The Guardian 2005-09-06

"David Nixon's brand new interpretation of the Bram Stoker story has bold imagery, dramatic drive and an impressive atmosphere. ..... particularly when the breathtaking climax builds and explodes. ..... This ballet looks and sounds stunning throughout ....."

Kevin Berry The Stage 2005-09-15

"Set in Spain in the early 16th Century, against severe mirror-black marble floor and cleverly movable walls, scene after scene presents the glowing colours and fantastically elaborate costumes straight from a Velázquez painting. Indeed the first stunning entrance of the heroine Elvira, motionless in a large doorway with blue light behind her, gives just that impression. When she advances into the room and the walls close behind her, so that she is trapped with her own subdued reflection bouncing off every surface, we know she is not going to have much control over her own fate. When combined with a fine cast, the visual delights of the production and some very atmospheric lighting from John Bishop, the result is a very special evening."

Helen Wright musicOMH.com

"... made one long for an empty stage and more of John Bishop's atmospheric lighting."

John Allison Opera 1997-09-21

"... John Bishop's stunning lighting. The gloomy caves of Nibelheim glow in what can only be called black light, Donner's thunderstorm is cataclysmic and the rainbow bridge to Valhalla a glorious spectrum of the richest colours."

David Self The Stage 1997-09-20