"The direction is well thought out and the cool blue chill and warm red glow of the lighting is used as is appropriate to the scene and atmosphere it is depicting."

David Marren All The Festivals 2010-08-20

"...a strong lighting and design element which works perfectly in the space and really adds to the feel of the piece. Back of the net! "

Paul Dunn Remote Goat 2010-06-11

"Lily plays with countless props and director Di Sherlock has her using every corner of the space – high and low – complete with dynamic lighting that brings the one-woman show alive."

Adam Smith 2010-06-08

"The staging of the performance plays cleverly with perception and imagination, and the intense peculiar lighting has a Hammer Horror quality that would make any Poe fan proud... Over the top, deliberately over acted, and with a stage setting brilliantly exaggerating every horrible twist and turn. "

Natalie Burns Guide 2 Bristol 2010-04-10

"Some Edinburgh venues can be a bit restricted when it comes to staging and lighting. This year, we’re at the Pleasance Grand; and we have a new lighting design for Ernest created by Paul Green – it’s added so much to it. "

Interview with James Seager Edinburgh Spotlight

"the starkly lit stage bringing to mind the unhinged sets in 1920s horror"

Lee McRonald Hairline 2010-08-26

"the piece is strong on atmosphere, gloomy, beautifully lit and rich in texture."

William McEvoy The Stage

"The gothic designs recall the playful Tim Burton; the lighting, smoke and flickering mirrors echo Hitchcock and the narrative has the weirdness and paranoia of Franz Kafka. Atmosphere is all in Ernest And The Pale Moon, and on Thursday it made for the most visually memorable night’s theatre your reviewer has experienced this year with an increasing, if strangely pleasurable, discomfort. "

Charles Hutchinson York Press 2010-05-24

"This is a beautifully crafted piece of theatre that keeps the imagination alive. Demi-Monde doesn't need an extensive set; the few props and scenary evoke setting perfectly, completemented by Paul Green and Josh Pharo's exquisite lighting design. "

Simon Sladen British Theatre Guide 2010-02-18

"the monochromatic palate also looked good, with the only colour being red, whether through the atmopsheric lighting or the tie around Richard's neck"

Online Blog 2010-02-04

"Praise to the lighting designer (Paul Green), the sound designer (Sam Ward) for often stark, unflattering, sometimes casino-esque lighting and for brooding, almost soul-less music, to create a foul nation-state in which we watched a society slowly eat itself alive. Nasty! As mentioned, the only dull aspect becomes the repetition of the act of murder and betrayal, like the dull black office-garb commute to dream-killing work in London, or the large-scale drudge of the “processing” in the death camps. This image, of the industrialisation of death seems fortified by the use of glaring white floodlight-like lights, for me implying some extermination camp-level of disregard for humanity. The lighting sometimes became more intimate, but often only during yet another man’s murder – as in the intimacy between the assassin (Tyrell) and the victim. Again, the perfect repetition. As each time, we see Tyrell quietly, sadly, listen to the protestations of his intended, and squat down to his black shoulder bag, slowly pull out the tools of his trade. We know what is to come. The menace deepens, each time."

Jonathan Brown Extra! Extra! 2010-02-05

"Fool for Love takes place in the seediest of motel rooms and designer Annette Sumption, with great assistance from her talented lighting colleague Paul Green, conjures up just the right milieu"

Philip Fisher The British Theatre Guide 2010-01-28

"The stage looks great, with a heavey use of lighting to create a fantastic brooding atomsphere."

Nathan Flatman 2009-10-29

"production values, inventive lighting and sound, original music, and careful casting are entirely professional in their approach."

Johnny Fox Londonist 2009-09-09

"appropriate lighting, sound and costuming are used throughout the piece"

Megan Hunter The London Arts Blog 2009-09-09

"Nicky Bunch’s design (both set and costumes) is assured. This, combined with some effective lighting by Paul Green, makes for an atmospheric setup."

Jo Caird The London World

"Knitting this entire performance together are Director (Neil Sheppeck), Designer (Kelly Hogan) and Lighting Designer (Paul Green) who create a beautiful and imaginative world for the audience to sit within."

David Cass Whats On Stage

"Visually this world is stunning, as you wander amongst the stalls, you literally do feel like a child in a candy store."

Rachel Sheridan The British Theatre Guide

"I special mention must go to the best Mimi I have ever seen (Jamie Lee Pike) who is complimented by the industrial set (Chloe Faine) and beautiful lighting design (Paul Green)."

Audience Review Whats on Stage

"the set was good, well dressed providing many different environments for the actors to perform in. The sound design, like the lighting was good"

Graham Trelfer 2008-08-22

"The production does have a moment of pure beauty, this occurs during a scene change. As Therese has just witnessed the death of her husband Lighting Designer Paul Green creates a beautiful effect of water cascading over the side of this table. "

Stacey Brren 2008-08-31

"The text mixed with an exciting music score transforms the festival style speigel tent into a magical theatre space. This is further transformed by Paul Greens lighting. Animated beams of light bounce from the tents mirrors and cut through the hazy environment to transform the shows ballards into a work of art."

Joe Bourke Remote Goat 2008-05-22

"The text, score and direction are further enhanced by Paul Green's lighting which enhances every musical note perfectly with crisp beams of light. "

Simon Stokes Remote Goat 2008-05-28

"The space played on two sides' works beautifully with Pip Nash's stark set that director Hilary Burns has used to its full potential. These elements mixed with Paul Green's creative surrealist lighting and an unaccredited sound scape creates the perfect atmosphere for Penhall's text."

Jayne Brown Remote Goat 2008-03-10

"Pip Nash’s set-design is a felicitous blend of NHS-functionality and Sub-Saharan exuberance, dipped in a subtle blue wash by Paul Green’s lighting and underlined by a flow of Tanzanian music while the audience shuffles into place, equipped with perfectly good wine in plastic cups and unbelievably noisy bags of Skittles. Go and see blue/orange for12 pounds before it is catapulted off the fringe and onto one of London’s bigger stages, where a production of this quality belongs!"

David Hermann Extra Extra 2008-03-07