"Sheader’s witty direction and, above all, the spectacularly-lit woodland location, ensure that this fairy-tale musical casts a pretty potent spell."

Charles Spencer The Telegraph 2010-08-17

"Meanwhile the woods themselves come alive at dusk with Jon Clark’s highly effective lighting design that both penetrates and cleverly highlights the action."

John Thaxter British Theatre Guide 2010-08-19

"Soutra Gilmour’s set is a raised platform of gritty sand, with pools of oil in the corners and lighting rigs surrounding it. The location is dry, dirty and starkly lit (by Jon Clark). "

Donald Hutera The Times 2010-05-17

"Jon Clark's stark lighting and Soutra Gilmour's industrial set create a credible arena"

Alfred Hickling The Guardian 2010-05-13

"...punctuated by Jon Clark's fiercely directional lighting that ignites the action by blasting shocks of hard white light from serried ranks of lanterns ranged across the black space."

David Benedict Variety 2010-06-30

"Much of that achievement depends on Soutra Gilmour's immensely impressive set design, which is starkly lit from extreme angles by Jon Clark. Conjuring vividly delineated spaces above and beneath the acting area, their design embodies the metaphor of highs and lows that the play proposes but fails to develop emotionally."

David Benedict Variety 2010-04-07

"Jon Clark's lighting washes all of David Farr's production in a dark, swirling mist, save – with a sad and clever irony – the scene in which Geoffrey Freshwater's very good, clubbable Gloucester is blinded. As his eyeball is flipped casually out of its socket and on to the boards, the stage glows as if it were a smithy."

Susannah Clapp The Observer 2010-03-07

"The grim and grime of the play has been fully expressed in Jon Bausor's design and Jon Clark's unremitting lighting"

Michael Coveney The Independent 2010-03-08

"The period setting is not specific: a medieval/Edwardian/ modern-day militarised state where the chandeliers flicker in Lear's jerry-built fortress. That ingeniously foreshadows the storm scene, when the King's world collapses and he goes mad in hallucinatory flashes of lightning... In an unforgettable cliff-top scene, in a haze of sunlight, his Lear stands crowned with wild flowers."

Kate Bassett The Independent on Sunday 2010-03-14

"The splendid set by Alex Hales, atmospheric lighting by Jon Clark and haunting sound design by Emma Laxton all contribute to one of the best productions I have seen this year and certainly the best production of Ghosts I have seen in a long time."

Keith Myers Whatsonstage.com 2009-07-27

"...and a lighting designer who deserves a knighthood for evoking the moody hues of late-night schmooze."

Sarah Frater The Evening Standard 2009-04-29

"...arrestingly intelligent staging and lighting..."

Clare Brennan The Observer 2009-04-19

"Music and a city soundscape add further authenticity to Soutra Gilmour's gray , disused Manhattan loft set. Gilmour even completes the interior with a ceiling, thus providing a literal and metaphorical crack through which lighting designer Jon Clark shines a single fractured beam to dramatize the space. Clark and Lloyd use side-lighting to lower and raise the temperature, and not just in the effective rain-drenched sequences at the front of the stage, alluded to in the play's title. The sunny warmth stealing over the second act is in powerful contrast to the cheerlessness cast over the initial proceedings via ghostly daylight looming in through Gimour's tall windows. That depth of eloquent atmosphere is a springboard for the thrillingly balanced performances."

David Benedict Variety Magazine 2009-02-12

"Soutra Gilmour’s beautifully realised set, evocatively lit by Jon Clark, is the downtown Manhattan flat that has, we learn, been occupied by father and son with a space of some 30 years in between."

Jeremy Austin The Stage 2009-02-11

"...both choreography (Arthur Pita) and lighting (Jon Clark) were striking."

Melanie Eskenazi Seen and Heard 2008-07-17

"..well recreated in David Farr’s revival, which has a livid green lighting by Jon Clark, casting lots of Expressionist shadows on Jon Bausor’s filthily designed B&B with ducks on the wall flying against the receding perspectives. "

Michael Coveney whatsonstage.com 2008-05-13

"'Soutra Gilmour’s design and Jon Clark’s lighting create the right sort of slightly unreal atmosphere for both plays..'"

Michael Coveney What's On Stage 2008-01-30

"'Caught in solitary shafts of light (beadily designed by Jon Clark)'"

David Jays The Sunday Times 2008-02-03

"'..the visual and sonic expertise is never allowed, in David Farr's elegant production, to lapse into self-advertising cleverness.'"

Michael Billington The Guardian 2007-10-19

"Jon Clark's stunning lighting design gives the whole piece an ethereal feel. "

Kelly Apter The List 2008-02-28

"This is a visionary piece, combining music, colour, light (richly created by Jon Clark), smoke, Paul Shriek's pink and green costume design and beautifully graceful, balletic dancing. "

Vivien Devlin EdinburghGuide.com 2008-03-20

"Tenderhook is a compelling symbiosis of movement and light."

Kelly Apter The Scotsman 2008-02-23

"The opening to Liv Lorent’s tenderhook must be one of the most beautiful in this year’s Fringe. Philippa White’s body becomes slowly discernible in Jon Clark’s exquisite lighting: she appears almost nude under the fresh glow, en pointe, twirling poi ribbons that look like Catherine wheels in her hands. "

Lucy Ribchester The British Theatre Guide 2008-08-11

"..with a company who work incredibly well as a unit, and a dusky lighting design from Jon Clark, the overall result is a piece of thought-provoking and visually appealing dance. "

Thom Dibdin The Stage 2007-09-07

"Robert Innes Hopkins' design is effective and pretty non-specific, allowing his stylish costumes and Jon Clark's striking lighting to make their strong effects."

Robert Hugill Music & Vision 2007-07-12

"...the execution leads to considerable dramatic effect, not least because of how the moody lighting (original design by Adam Silverman, modified for WNO by Jon Clark) underscores the narrative shifts."

Charles Downey DCist 2007-05-07

"But it's the design team who carry the show. Dick Bird's Amazonian set, lit smokily by Jon Clark, is a fantasy world to delight in...[the] production is both beautifully simple and simply beautiful. "

Kieron Quirke The Evening Standard 2025-04-07

"Jon Clark's lighting soaks the piece in a subtle haze of alienation. "

london-se1.co.uk 2007-04-27

"In Katie Mitchell's heart-rendering setting of The Jewish Wife, Anastasia Hille crouches in her slip amid the nude-coloured silks and furs of her half-packed belongings, moving quietly in and out of the lamplight, casting huge distorted shadows as looming music punctuates her monologue. It's elegiac and subtly implies the panic of a generation by blending its heroine into the background."

The London Paper