The Ruling Class
"Jon Clark provides effective and interesting lighting effects which make the most of Gilmour’s set."
Stephen Collins British Theatre.com 2015-01-29
"Jon Clark, is unusual and particularly effective. We occasionally get a single spot on Wozzeck himself at points of particular emotional turmoil, but more often the lighting fits into the scenario, with the set illuminated in a pale neon glow. In one of the interludes, there is a particularly effective vignette, in which the Captain comes into the social club and vents his frustrations on a shoot-em-up arcade game in the corner. But the whole episode is lit so dimly that you can only just see that it is happening, making it all the more sinister."
administrator Opera Britannica 2013-05-14
"...confidently mounted and wonderfully lit (by Jon Clark)."
Mark Valencia classicalsource.com 2013-05-14
Written on Skin
"Katie Mitchell's virtuosic staging - time-hopping, split level designs from Vicki Mortimer, beautiful lighting by Jon Clark - arguably heightens the prevailing emotional chill."
Neil Fisher The Times 2013-03-10
"...stylishly designed by Vicki Mortimer and lit by Jon Clark."
Fiona Maddocks The Observer 2013-03-16
"There are echoes of things like Theorem by Pasolini and Pelléas et Mélisande by Debussy, and, in Jon Clark's lighting, Tarkovsky and Caravaggio."
Igor Toronyi-Lalic The Arts Desk 2013-03-09
"Vicki Mortimer’s designs point up the disparity between then and now with real visual allure and Jon Clark’s lighting is often as fastidious as the music it serves to illuminate"
Richard Whitehouse Classical Source 2013-03-10
"...superbly lit by Jon Clark."
Colin Anderson The Opera Critic 2013-03-08
Trelawny of the Wells
"Hildegard Bechtler’s design...has the advantage of Jon Clark’s atmospheric lighting, which deftly shifts between the stygian gloom of Sir William’s moribund household and the footlights of a Victorian stage."
David Benedict Variety 2013-02-28
"...the atmospheric colouring of Hildegard Bechtler’s sets, beautifully lit by Jon Clark... "
Mark Shenton The Stage 2013-02-27
Written on Skin
"Vicki Mortimer’s compartmentalized décor creatively sets most of the action in a single, dreary room for the Protector and Agnès; a forest is on one side and on the other, as well as above, are modern workrooms for the Angels. Jon Clark’s lighting is both effective generally and helps to demarcate the opera’s scenes."
George Loomis The New York Times 2012-10-16
"Director David Farr and designer Jon Bausor have created a staging that allows for a highly effective nothing-up-our-sleeves type of theatre that manages to be startlingly beautiful at the same time...//There is fine lighting by Jon Clark.// The overall effect is to make this complex material astonishingly clear."
John McCallum The Australian 2012-09-15
"Trevor Fox is a lovely dry Geordie Fool who struggles to restrain Lear with a desperate, loving embrace throughout the storm scene as Jon Clark's spectacular lighting crashes round Tom Scutt's medieval/modern set whose curving tiered brick wall mirrors the Almeida's own architecture. "
Paul Taylor The Independent 2013-09-12
"Tom Scutt’s all-brick design, using the theatre’s back wall, is given a subtle son et lumiere treatment by Jon Clark’s lighting and Dan Jones’s sound, providing an epic scale without drowning a single word."
Michael Coveney The Stage 2012-09-12
"The real feat of design is Jon Clark's intricate lighting which captures characters on the heath as if lightning were the brush of an old master. At one brilliant point Pryce speaks with only a few lines of his face and limbs picked out with silver: it's as if his mind were dragging his body into its own darkness."
Susannah Clapp The Observer 2012-09-16
Written on Skin
" Jon Clark’s lighting has the removed grandeur of an oil painting."
Liam Cagney Daily Telegraph 2012-07-16
"beau travail sur les lumières (Jon Clark) "
Chantal Cazaux Avant Scène Opera 2012-07-09
"Il libretto, che alterna che alterna momenti di poesia a un linguaggio crudo, come già abbiamo fatto cenno, si integra perfettamente con la musica che si presenta con uno stile che si potrebbe definire in qualche modo classico. Non ci sono “arie” che ci collegano a una visione tradizionale dell’opera. Ogni suono viene cantato o suonato in una forma espressiva tra l’antico e il contemporaneo. Questo mix è anche evidenziato dalla presenza in orchestra di strumenti quali la viola da gamba e la glassharmonica che apportano un colore particolare alla musica. Written on Skin mette in luce inoltre un reale lavoro d’équipe tra George Benjamin, qui anche in veste di direttore d’orchestra, il librettista Martin Crimp, la regista e la scenografa e costumista Vicki Mortimer, creatrice di un impianto scenico fisso su due livelli, dei quadri che rappresentano il passato e il presente dei personaggi e il crescendo delle loro tensioni personali. Fondamentale anche l’apporto delle luci di Jon Clark."
Jocelyne De Nicola GBOpera 2012-07-29
"Ralph Myers’s set, skilfully lit by Jon Clark, locates the action in a stadium — that traditional site of totalitarian exercise of power with all its inherent theatrical potential."
Barry Millington The Evening Standard 2012-05-28
"Making this all the more eerie was the sinister green lighting (the choices of Lighting Designer Jon Clark were spot-on, here and throughout). "
Dominic Wells Opera-Britannica 2012-05-29
The House of Bernarda Alba
"That world is magnificently conjured in Bunny Christie’s epic design, stunningly lit by Jon Clark with bursts of blinding light punctuating the scenes."
Mark Shenton The Stage 2012-01-27
"Jon Clark's lighting abets Christie's incipient mausoleum of a set to ensure that, visually, the show cuts to the quick."
Matt Wolf The Arts Desk 2012-01-28
"The production is a marvel of carefully built-up, beautifully lit atmosphere. "
Paul Taylor The Independent 2011-01-30
"The production is designed with beautiful austerity by Bunny Christie, and Jon Clark's lighting is superb, with pale sunlight filtering through a skylight, and blinding flashes closing each scene, like emotional explosions. "
Kate Bassett The Independent on Sunday 2012-02-05
"Despite Bunny Christie's airy set, the sensitive lighting and a subtle soundscape by Dan Jones keeps us aware of the forbidden outer world; sunshine, moonlight, men's distant singing in the fields, crickets chirping in the hot starry night, when a girl longs to creep to her lover."
Libby Purves The Times 2012-01-30
"This is a black and bleakly comic play given a raw and daring production. The use of colour in the design (set by Jon Bausor and lighting by Jon Clark) reinforces this with the increasing influence of red as the play develops."
Simon Tavener Whatsonstage.com 2011-08-04
"Well lit by Jon Clark to suggest we are looking at an illuminated domestic jungle..."
Michael Billington The Guardian 2011-08-04
The Winter's Tale
"Farr's fluent combination of arresting staging, lighting (Jon Clark), and both live and recorded music...create a "Winter's Tale" well worth experiencing."
JENNIFER FARRAR Associated Press 2011-07-25
A Woman Killed With Kindness
"...in Jon Clark's beautiful lighting, the hues of spring turn ice-cold. "
Lyn Gardner The Guardian 2011-07-20
"Jon Clark’s superb lighting helps to define the two spaces within the stage and to continually prompt the audience in where to follow the narrative."
Jake Orr ayoungertheatre.com 2011-07-21
The Return of Ulysses
"We can no longer hide behind stylisation and shrink from the reality and as Ulysses takes a long hot shower, washing away years of dust and gore, a hopeful warmth is introduced into the hitherto stark white unforgiving lighting as husband and wife dare to believe in happiness once more."
Edward Seckerson The Independent 2011-03-25
"..Bunny Christie’s design, beautifully lit by Jon Clark, supplies snowflakes and rain effects that are stunning"
Michael Coveney WhatsOnstage.com 2011-02-02
"Jon Clark's lighting in this production is quite remarkable. He uses the whole range from blaring brightness to virtual darkness, the latter (not) illuminating the "blow winds" speech to great dramatic effect. Throughout, Clark engenders an appropriately claustrophobic atmosphere."
Phillip Fisher The British Theatre Guide 2011-01-22
"Jon Clark’s expressive lighting tapers eloquently as the proceedings veer into the emotional darkness"
Paul Taylor The Independent 2010-10-28
"...Jon Clark’s brilliantly conceived lighting creates pockets of focus and moody tracts of shadow."
Henry Hitchings Evening Standard 2010-10-08
"Jon Clark’s lighting insists upon shadows as befits a play inhabited by a Ghost "
Matt Wolf The New York Times 2010-10-12
"Jon Clark's beautiful lighting makes full use of the props that come with Hytner's staging. In one scene a spotlight used by the players creates an exquisite setting for Hamlet's soliloquy."
CB OfficialLondonTheatre.co.uk 2010-10-08
"Lighting designer Jon Clark takes advantage of stage mist to obscure characters, and that works especially well when the Ghost of Hamlet's father (James Laurenson) makes his spectral appearance early on."
Ray Bennett The Hollywood Reporter 2010-10-08
"Denmark is a frightening unstable political regime and apprehensive lighting by Jon Clark creates a shadowy environment that conceals spectres and, worse, spies. "
Dave Cunningham WhatsOnStage.com 2011-02-09
Into The Woods
"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
Anton & Erin - Cheek to Cheek
"...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
The Winter's Tale
"...arrestingly intelligent staging and lighting..."
Clare Brennan The Observer 2009-04-19
Three Days of Rain
"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
The Birthday Party
"..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
The Lover & The Collection
"'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
I Capuleti e I Montecchi
"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
How Much Is Your Iron?
"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. "
The Jewish Wife
"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