Sherry L Coenen
SHERRY COENEN Lighting Designer
Sherry has been lighting shows in the US and UK since graduating with a BFA in Lighting Design from the University of Miami in 2003.
Shows include: This is How We Die (UK/International Tour), Conquest of the South Pole (Arcola), CELL (UK tour), Skin Tight (Park90), Your Last Breath (UK tour), Anton Chekhov (Hampstead Theatre),Moby Dick (Arcola), Home Sweet Home (UK tour), Snow Spider (UK tour), Bernarda Alba (Union).
Previous productions
| Show name | Type | Venue/Company | Role | Creative Team | Opened |
|---|---|---|---|---|---|
| The Bed | Theatre |
Little Angel Studios Little Angel Theatre |
Lighting Designer |
Director: Samantha Lane Set designer: Sophia Lovell Smith |
Jun 2019 |
| Operation Mincemeat | Musical |
New Diorama Theatre SpitLip |
Lighting Designer |
Director: SpitLip Set designer: Helen Coyston |
May 2019 |
| The Flying Bath | Theatre |
Little Angel Theatre, then touring Little Angel Theatre |
Lighting Designer |
Director: Samantha Lane Set designer: Emma Tompkins |
Mar 2019, May 2019 |
| Fighter | Theatre | Stratford Circus | Lighting Designer |
Director: Julie Addy Set designer: Helena Goldburg |
Apr 2019 |
| Flux | Theatre |
Shoreditch Town Hall, then touring Smoking Apples |
Lighting Designer |
Director: Smoking Apples Set designer: Matt Llloyd and Hattie Thomas |
Nov 2018, Apr 2019 |
| Out of This World | Theatre |
Little Angel Studios Little Angel Theatre |
Lighting Designer |
Director: Slavka Jovanovic Set designer: Smoking Apples Theatre Company |
Mar 2019 |
| Margo: Half Woman, Half Beast | Theatre |
JW3, then touring Cheyne Productions Ltd |
Lighting Designer |
Director: Sarah Sigal |
Jun 2018, Mar 2019 |
| Frankenstein | Theatre |
Battersea Arts Centre A BAC Beatbox Academy and Battersea Arts Centre Production |
Lighting Designer |
Director: Conrad Murray & David Cumming |
Mar 2018, Oct 2018, Mar 2019 |
| The Flying Bath | Theatre |
Little Angel Theatre, then touring Little Angel Theatre |
Lighting Designer |
Director: Samantha Lane Set designer: Emma Tompkins |
Mar 2019, May 2019 |
| Wow! It's Night-Time | Theatre |
Little Angel Theatre Little Angel Theatre |
Lighting Designer |
Director: Joy Haynes Set designer: Fiammetta Horvat |
Dec 2018, Feb 2019 |
| Rattled | Theatre |
Old Red Lion Missmanaged Theatre Company |
Lighting Designer |
Director: Jemma Gross Set designer: Florence Hazard |
Feb 2019 |
| Prince Charming | Theatre |
Little Angel Theatre Little Angel Theatre & Perth Theatre |
Lighting Designer |
Director: Ross MacKay Set designer: Ross MacKay |
Feb 2019 |
| Kompromat | Theatre |
Brick Hall, The Vaults Em-Lou Productions |
Lighting Designer |
Director: Peter Darney Set designer: Fion Blossom |
Jan 2019 |
| Wow! It's Night-Time | Theatre |
Little Angel Theatre Little Angel Theatre |
Lighting Designer |
Director: Joy Haynes Set designer: Fiammetta Horvat |
Dec 2018, Feb 2019 |
| The Singing Mermaid | Theatre |
Royal and Derngate Underground 1&2, then touring Royal & Derngate with Little Angel Theatre |
Lighting Designer |
Director: Samantha Lane Set designer: Laura McEwen |
Dec 2017, Feb 2018, Dec 2018 |
| Finding Santa | Theatre |
Little Angel Studios Little Angel Theatre |
Lighting Designer |
Director: Samantha Lane Set designer: Alison Alexander |
Nov 2018 |
| Flux | Theatre |
Shoreditch Town Hall, then touring Smoking Apples |
Lighting Designer |
Director: Smoking Apples Set designer: Matt Llloyd and Hattie Thomas |
Nov 2018, Apr 2019 |
| Frankenstein | Theatre |
Battersea Arts Centre A BAC Beatbox Academy and Battersea Arts Centre Production |
Lighting Designer |
Director: Conrad Murray & David Cumming |
Mar 2018, Oct 2018, Mar 2019 |
| Paradise Circus | Theatre |
The Playground Theatre The Playground Theatre |
Lighting Designer |
Director: Anthony Biggs Set designer: Cecilia Trono |
Oct 2018 |
| Women of Aktion | Theatre |
Stage@Leeds, then touring Bent Architect |
Lighting Designer |
Director: Mick Martin & Jude Wright |
Oct 2018 |
| Reflected | Theatre |
Platform Southwark The Milo Wladek Co. |
Lighting Designer |
Director: Simon Ryninks Set designer: Emma Tompkins |
Sep 2018 |
| Persuasion | Theatre |
The Playground Theatre, then touring Theatre6 |
Lighting Designer |
Director: Kate McGregor Set designer: Charlotte Cooke |
Apr 2018, Sep 2018 |
| High Ridin' | Theatre |
Kings Head Theatre Em-Lou Productions |
Lighting Designer |
Director: Peter Darney Set designer: Fin Redshaw |
Sep 2018 |
| Free and Proud | Theatre |
Theatre503 and Assembly Studio 4 Em-Lou Productions |
Lighting Designer |
Director: Peter Darney |
Jul 2018 |
| An Evening, A Beginning | Dance |
Blue Elephant Theatre KAMIENSKI |
Lighting Designer |
Choreographer: Andre Kamienski |
Jul 2018 |
| Margo: Half Woman, Half Beast | Theatre |
JW3, then touring Cheyne Productions Ltd |
Lighting Designer |
Director: Sarah Sigal |
Jun 2018, Mar 2019 |
| Director's Cut | Theatre |
Lowry Studio, then touring Kill The Beast |
Lighting Designer |
Director: Clem Garrity Set designer: Clem Garrity |
Jun 2018 |
| Shirleymander | Theatre |
Playground Theatre Playground Theatre |
Lighting Designer |
Director: Anthony Biggs Set designer: Gregor Donnelly |
May 2018 |
| Tenome - Eyes on Hand | Dance |
Cockpit Theatre, London, then touring Edifice Dance Theatre |
Lighting Designer |
Choreographer: Carmine De Amicis , Choreographer: Harriet Elizabeth Waghorn |
Apr 2018 |
| Oath | Dance |
Swindon Dance, then touring Watkins Dance Company |
Lighting Designer |
Choreographer: Anna Watkins |
Apr 2018 |
| Persuasion | Theatre |
The Playground Theatre, then touring Theatre6 |
Lighting Designer |
Director: Kate McGregor Set designer: Charlotte Cooke |
Apr 2018, Sep 2018 |
| Frankenstein | Theatre |
Battersea Arts Centre A BAC Beatbox Academy and Battersea Arts Centre Production |
Lighting Designer |
Director: Conrad Murray & David Cumming |
Mar 2018, Oct 2018, Mar 2019 |
| Female Parts: Shorts | Theatre |
Hoxton Hall Hoxton Hall |
Lighting Designer |
Director: Karena Johnson Set designer: Libby Watson |
Mar 2018 |
| Electra | Theatre |
The Bunker Theatre DumbWise |
Lighting Designer |
Director: John Ward Set designer: Sam Wilde |
Feb 2018 |
| Evocation | Theatre |
The Space on the Mile & Bridewell Theatre Theatre Voliere |
Lighting Designer |
Director: Eric Domenicone Set designer: La SoupeCie |
Aug 2017, Feb 2018 |
| The Singing Mermaid | Theatre |
Royal and Derngate Underground 1&2, then touring Royal & Derngate with Little Angel Theatre |
Lighting Designer |
Director: Samantha Lane Set designer: Laura McEwen |
Dec 2017, Feb 2018, Dec 2018 |
| Arnika | Theatre |
Bridewell Theatre Theatre Voliere |
Lighting Designer |
Director: Natasha Wood |
Feb 2018 |
| The Singing Mermaid | Theatre |
Royal and Derngate Underground 1&2, then touring Royal & Derngate with Little Angel Theatre |
Lighting Designer |
Director: Samantha Lane Set designer: Laura McEwen |
Dec 2017, Feb 2018, Dec 2018 |
| This is Not a Safe Space | Theatre |
Contact Theatre Manchester, then touring Big Feast & Unlimited |
Lighting Designer |
Director: Jackie Hagan Set designer: Kat Heath |
Oct 2017 |
| Virtually Blackfriars | Theatre |
Platform Southwark The Milo Wladek Co. |
Lighting Designer |
Director: Simon Ryninks Set designer: Emma Tompkins |
Oct 2017 |
| The Party | Theatre |
Watermans Arts Centre, then touring Nearly There Yet |
Lighting Designer |
Director: Mary Swan Set designer: Sue Mayes |
Feb 2016, Feb 2017, Oct 2017 |
| Izindava | Dance |
The Showroom, Chichester, then touring Tavaziva |
Lighting Designer |
Choreographer: Bawren Tavaziva |
Sep 2017 |
| In Our Hands | Theatre |
New Diorama Theatre, London, then touring Smoking Apples |
Lighting Designer |
Director: Smoking Apples & Red Threaders Set designer: Samuel Wyer |
Jun 2015, Aug 2016, Sep 2016, Sep 2017 |
| Evocation | Theatre |
The Space on the Mile & Bridewell Theatre Theatre Voliere |
Lighting Designer |
Director: Eric Domenicone Set designer: La SoupeCie |
Aug 2017, Feb 2018 |
| These Trees Are Made Of Blood | Theatre |
Arcola Studio 1 Arcola Theatre |
Lighting Designer |
Director: Amy Draper Set designer: Georgia Lowe and Alex Berry |
Jun 2017 |
| Give Me Your Skin | Theatre | Battersea Arts Centre (BAC), London, UK, then touring | Lighting Designer |
Director: Tom Ross-Williams and Oonagh Murphy |
Jun 2017 |
| The Last Ones | Theatre |
Jermyn Street Theatre Upstart Theatre Ltd, Jermyn Street |
Lighting Designer |
Director: Anthony Biggs Set designer: Cecilia Trono |
Jun 2017 |
| Africarmen | Dance |
Bernie Grant Arts Centre, then touring Tavaziva |
Lighting Designer |
Choreographer: Bawren Tavaziva Set designer: Joseph Bisat Marshall |
Sep 2015, Mar 2017 |
| The 'Neath | Environmental |
The Vaults, London Specifiq |
Lighting Designer |
Director: Oscar Blustin and Dean Rodgers Set designer: Kat Heath |
Feb 2017 |
| The Party | Theatre |
Watermans Arts Centre, then touring Nearly There Yet |
Lighting Designer |
Director: Mary Swan Set designer: Sue Mayes |
Feb 2016, Feb 2017, Oct 2017 |
| What the Circus | Theatre |
The Garage, Norwich Flight of the Escales |
Lighting Designer |
Director: Sarah Calver Set designer: Cate Blanchard |
Feb 2017 |
| The X | Theatre |
Arcola Studio 2 Queer Collective |
Lighting Designer |
Director: Rubyyy Jones |
Jan 2017 |
| The Drag | Theatre |
Arcola Studio 2 Queer Collective |
Lighting Designer |
Director: Peter Darney |
Jan 2017 |
| Cinderella | Theatre |
Queen's Theatre Hornchurch Queen's Theatre Hornchurch |
Lighting Designer |
Director: Martin Berry Set designer: Mark Walters |
Dec 2016 |
| Brrr! | Theatre |
Canada Water Culture Space, then touring Proteus Theatre Company |
Lighting Designer |
Director: Mary Swan Set designer: Sam Pine |
Oct 2016 |
| Muvvahood | Theatre |
Stratford Circus, then touring Em-Lou Productions |
Lighting Designer |
Director: Julie Addy Set designer: Emily Harwood |
Oct 2016 |
| Phone Home | Theatre |
Shoreditch Town Hall Upstart Theatre Ltd, Pathos Munchen, Highway Productions |
Lighting Designer |
Director: Tom Mansfield , Director: Yannis Kalavrianos , Director: Michael Sommer Set designer: Hannah Sibai |
Oct 2016 |
| 5 Guys Chillin' | Theatre |
King's Head Theatre Em-Lou Productions |
Lighting Designer |
Director: Peter Darney Set designer: Jaime Simmons |
Oct 2015, Feb 2016, Oct 2016 |
| A Well Remembered Voice | Theatre |
OSO Community Arts Centre, then touring Io Theatre Company |
Lighting Designer |
Director: Delyth Jones Set designer: Florence Hazard |
Oct 2016 |
| The Northern School | Theatre |
Bradford Playhouse Bent Architect |
Lighting Designer |
Director: Mick Martin & Jude Wright |
Oct 2016 |
| In Our Hands | Theatre |
New Diorama Theatre, London, then touring Smoking Apples |
Lighting Designer |
Director: Smoking Apples & Red Threaders Set designer: Samuel Wyer |
Jun 2015, Aug 2016, Sep 2016, Sep 2017 |
| Til Death Do Us... | Dance |
Cockpit Theatre, London Edifice Dance Theatre |
Lighting Designer |
Choreographer: Harriet Elizabeth Waghorn , Choreographer: Carmine De Amicis Set designer: Andy Pilbeam-Brown |
Aug 2016 |
| In Our Hands | Theatre |
New Diorama Theatre, London, then touring Smoking Apples |
Lighting Designer |
Director: Smoking Apples & Red Threaders Set designer: Samuel Wyer |
Jun 2015, Aug 2016, Sep 2016, Sep 2017 |
| Lights Out | Theatre |
Rose Theatre Kingston Studio Page One Theatre |
Lighting Designer |
Director: Chloe Stephens Set designer: Helen Coyston |
Jul 2016 |
| Happy to Help | Theatre |
Park Theatre, Park 90 Celia Dugua |
Lighting Designer |
Director: Roxy Cook Set designer: Emma Tompkins |
Jun 2016 |
| CAUTION: Safety Goggles Required | Theatre |
Gulbenkian Theatre, Canterbury, then touring Daredevil Labs |
Lighting Designer |
Director: Delyth Jones Set designer: Emma Bailey |
May 2016 |
| CELL | Theatre |
Little Angel Theatre, then touring Smoking Apples & Little Cauliflower |
Lighting Designer |
Director: Smoking Apples & Little Cauliflower |
Mar 2014, Mar 2016 |
| The Party | Theatre |
Watermans Arts Centre, then touring Nearly There Yet |
Lighting Designer |
Director: Mary Swan Set designer: Sue Mayes |
Feb 2016, Feb 2017, Oct 2017 |
| 5 Guys Chillin' | Theatre |
King's Head Theatre Em-Lou Productions |
Lighting Designer |
Director: Peter Darney Set designer: Jaime Simmons |
Oct 2015, Feb 2016, Oct 2016 |
| This is How We Die | Theatre | The Junction Cambridge, then touring | Lighting Designer |
Director: Christopher Brett Bailey |
Jun 2014, Jan 2016 |
| Your Last Breath | Theatre |
The Little - Southwark Playhouse Curious Directive |
Lighting Designer |
Director: Jack Lowe Set designer: Cai Dyfan |
Dec 2015 |
| In a Vulnerable Place | Theatre |
The Bush Theatre Bush Theatre and Steve Waters |
Lighting Designer |
Director: Boz Temple-Morris Set designer: Georgia Lowe |
Nov 2015 |
| 10,000 Litres | Dance |
The Place Theatre, London Evangelia Kolyra |
Lighting Designer |
Choreographer: Evangelia Kolyra Set designer: Sisters From Another Mister |
Oct 2015 |
| The State vs John Hayes | Theatre |
King's Head Theatre Epsilon Productions |
Lighting Designer |
Director: Jemma Gross |
Oct 2015 |
| 5 Guys Chillin' | Theatre |
King's Head Theatre Em-Lou Productions |
Lighting Designer |
Director: Peter Darney Set designer: Jaime Simmons |
Oct 2015, Feb 2016, Oct 2016 |
| Nobody's Business | Theatre |
King's Head Theatre King's Head |
Lighting Designer |
Director: John Adams Set designer: Jamie Simmons |
Sep 2015 |
| Africarmen | Dance |
Bernie Grant Arts Centre, then touring Tavaziva |
Lighting Designer |
Choreographer: Bawren Tavaziva Set designer: Joseph Bisat Marshall |
Sep 2015, Mar 2017 |
| Pierrot Lunaire | Dance |
Bridewell Theatre Theatre Voliere |
Lighting Designer |
Choreographer: Mick Wood and company Set designer: Rūta Irbīte |
Aug 2015 |
| Consolation | Theatre |
Bridewell Theatre Theatre Voliere |
Lighting Designer |
Director: Natasha Wood Set designer: Rūta Irbīte |
Aug 2015 |
| In Our Hands | Theatre |
New Diorama Theatre, London, then touring Smoking Apples |
Lighting Designer |
Director: Smoking Apples & Red Threaders Set designer: Samuel Wyer |
Jun 2015, Aug 2016, Sep 2016, Sep 2017 |
| Easy for You to Say | Theatre | Cambridge Junction, then touring | Lighting Designer |
Director: Daniel Pitt |
May 2015 |
| The State vs John Hayes | Theatre |
The Main Space (Brighton Fringe) Epsilon Productions |
Lighting Designer |
Director: Jemma Gross |
May 2015 |
| Speech Acts | Opera |
Courtyard Theatre Shadwell Opera |
Lighting Designer |
Director: Jack Furness Set designer: Georgia de Gray |
Apr 2015 |
| These Trees Are Made Of Blood | Theatre |
The Little - Southwark Playhouse Theatre Bench |
Lighting Designer |
Director: Amy Draper Set designer: Georgia Lowe |
Mar 2015 |
| Lab Rat | Theatre |
Little Angel Genius Sweatshop |
Lighting Designer |
Director: Kaveh Rahnama & Alison Alexander Set designer: Alison Alexander |
Mar 2015 |
| This Room | Theatre |
Battersea Arts Centre, then touring Laura Jane Dean |
Lighting Designer |
Director: Laura Jane Dean & Daisy Orton Set designer: Alison Neighbor |
Feb 2015 |
| The Archivists | Theatre |
Battersea Arts Centre BAC & Edith Tankus |
Lighting Designer |
Director: Edith Tankus Set designer: Sarah Mills |
Feb 2015 |
| Dickens' Ghosts | Theatre |
Cheltenham Playhouse Io Theatre Company |
Lighting Designer |
Director: Delyth Jones Set designer: Florence Hazard |
Dec 2014 |
| A Christmas Carol | Theatre |
Cheltenham Playhouse Io Theatre Company |
Lighting Designer |
Director: Delyth Jones Set designer: Florence Hazard |
Dec 2014 |
| Faraway, So Close | Theatre |
Old Fire Station Tug of War Theatre Company |
Lighting Designer |
Director: Amy Hailwood Set designer: Isobel Power Smith |
Dec 2014 |
| England, Arise! | Theatre |
Lawrence Batley Theatre, then touring Bent Architect |
Lighting Designer |
Director: Jude Wright Set designer: Barney George |
Oct 2014 |
| Home Sweet Home | Theatre |
Ukrainian Centre, then touring Freedom Studios |
Lighting Designer |
Director: Tom Wright Set designer: Hannah Sibai |
Sep 2014 |
| Chicken Shop | Theatre |
Park90 Epsilon Productions |
Lighting Designer |
Director: Jemma Gross Set designer: Florence Hazard |
Sep 2014 |
| Crystal Springs | Theatre |
Park90 Epsilon Productions |
Lighting Designer |
Director: Jemma Gross Set designer: Mike Lees |
Aug 2014 |
| This is How We Die | Theatre | The Junction Cambridge, then touring | Lighting Designer |
Director: Christopher Brett Bailey |
Jun 2014, Jan 2016 |
| A Well-Remembered Voice | Theatre |
Weston Auditorium Io Theatre Company |
Lighting Designer |
Director: Delyth Jones Set designer: Florence Hazard |
Jun 2014 |
| Home Sweet Home | Theatre |
Ukrainian Centre Freedom Studios |
Lighting Designer |
Director: Tom Wright Set designer: Hannah Sibai |
Apr 2014 |
| CELL | Theatre |
Little Angel Theatre, then touring Smoking Apples & Little Cauliflower |
Lighting Designer |
Director: Smoking Apples & Little Cauliflower |
Mar 2014, Mar 2016 |
| Cat in the Cupboard | Theatre |
Little Angel Theatre Tiny Light |
Lighting Designer |
Director: Anna Tolputt Set designer: Amy Honour |
Mar 2014 |
| The Snow Spider | Theatre |
Cheltenham Playhouse, then touring Io Theatre Company |
Lighting Designer |
Director: Delyth Jones Set designer: Florence Hazard |
Dec 2013 |
| Much Ado about Nothing | Theatre |
Park90 ACS Random |
Lighting Designer |
Director: Andrew Shepherd Set designer: Zahra Mansouri |
Dec 2013 |
| Arvoles Lloran Por Lluvia | Dance |
Battersea Mess and Music Hall Sefiroth |
Lighting Designer |
Choreographer: Katarzyna Witek Set designer: Maya Angeli |
Oct 2013 |
| Skin Tight | Theatre |
Park90 Epsilon Productions |
Lighting Designer |
Director: Jemma Gross Set designer: Jessamy Willson-Pepper |
Jul 2013 |
| Githa | Theatre |
York Theatre Royal Studio The Flanagan Collective |
Lighting Designer |
Director: Peter Darney |
May 2013 |
| After the Rainfall | Theatre |
The Garage, then touring Curious Directive |
Lighting Designer |
Director: Jack Lowe Set designer: Georgia Lowe |
May 2013 |
| Moby-Dick | Theatre |
Arcola Studio 1 Simple8 |
Lighting Designer |
Director: Sebastian Armesto |
Apr 2013 |
| The Cabinet of Dr Caligari | Theatre |
Arcola Studio 2 Simple8 |
Lighting Designer |
Director: Dudley Hinton & Sebastian Armesto |
Feb 2013 |
| Steve and Then It Ended | Theatre |
Theatre503 Paulden Hall Productions |
Lighting Designer |
Director: Oscar Blustin Set designer: Ian Latimer |
Jan 2013 |
| The Shakespeare Conspiracy | Theatre |
The Chelsea Theatre ACS Random |
Lighting Designer |
Director: Jack Bowman Set designer: Zahra Mansouri |
Nov 2012 |
| TRAILER/trash | Theatre |
Hen and Chickens Slippery When Wet |
Lighting Designer |
Director: David Verrey Set designer: Jacob Corn |
Oct 2012 |
| ENTER | Theatre |
Embassy Theatre TYPT:12 |
Lighting Designer |
Director: Anthony Ekundayo Lennon Set designer: Christopher Giles |
Aug 2012 |
| After the Rainfall | Theatre |
Pleasance King Dome Curious Directive |
Lighting Designer |
Director: Jack Lowe Set designer: Georgia Lowe |
Aug 2012 |
| Camille Claudel | Theatre |
Pleasance Beside Footprint Project |
Lighting Designer |
Director: Gael le Cornec Set designer: Sophie Mosberger |
Aug 2012 |
| A Midsummer Night's Dream | Theatre |
Chelsea Theatre ACS Random |
Lighting Designer |
Director: Andrew Shepherd Set designer: Zahra Mansouri |
Jun 2012 |
| Goodnight Mrs Calabash | Musical |
Upstairs at the Gatehouse Ovation |
Lighting Designer |
Director: Racky Plews Set designer: Simon Anthony Wells |
May 2012 |
| Conquest of the South Pole | Theatre |
Arcola Studio 1 Arcola Theatre |
Lighting Designer |
Director: Stephen Unwin Set designer: Hayden Griffin |
Apr 2012 |
| Tristan and Yseult | Theatre |
Oval House BADA |
Lighting Designer |
Director: Lynn Farleigh Set designer: Becky Gunstone |
Apr 2012 |
| Yerma | Theatre |
Oval House BADA |
Lighting Designer |
Director: Jake Murray Set designer: Yole Lambrecht |
Apr 2012 |
| Spring Awakening | Theatre |
Oval House BADA |
Lighting Designer |
Director: Leonie Kubigsteltig Set designer: Signe Beckmann |
Apr 2012 |
| Your Last Breath | Theatre |
Ustinov Studio, then touring Curious Directive |
Lighting Designer |
Director: Jack Lowe |
Feb 2012 |
| Oh What A Lovely War | Theatre |
Oval House BADA |
Lighting Designer |
Director: Rania Jumaily Set designer: James Turner |
Dec 2011 |
| 99% | Theatre |
Oval House BADA |
Lighting Designer |
Director: Guy Retallack Set designer: Katie Bellman |
Dec 2011 |
| Christmas is Miles Away | Theatre |
Hen and Chickens Tremers Theatre Co |
Lighting Designer |
Director: Tom O'Brien Set designer: Emily Revell |
Nov 2011 |
| Othello | Theatre |
Chelsea Theatre ACS Random |
Lighting Designer |
Director: Andrew Shepherd Set designer: Zahra Mansouri |
Nov 2011 |
| Bernarda Alba | Musical |
Union Theatre Triptic Theatre Company |
Lighting Designer |
Director: Katherine Hare Set designer: Hilary Statts |
Aug 2011 |
| Your Last Breath | Theatre |
Pleasance King Dome Curious Directive |
Lighting Designer |
Director: Jack Lowe |
Aug 2011 |
| Snap.Catch.Slam | Theatre |
Pleasance Beneath Aslan Productions |
Lighting Designer |
Director: Ben Caplan Set designer: Beck Rainford |
Aug 2011 |
| The Shakespeare Conspiracy | Theatre |
Chelsea Theatre ACS Random |
Lighting Designer |
Director: Chris Hislop Set designer: Zahra Mansouri |
Jun 2011 |
| Where the Flowers Grow | Theatre |
Warehouse Theatre Prussia Lane Productions Ltd |
Lighting Designer |
Director: Jeffrey Kissoon Set designer: Heike Scharrer |
Jun 2011 |
| Edges | Musical |
Landor Theatre Notion Theatre Company |
Lighting Designer |
Director: Katherine Hare Set designer: Hilary Statts |
May 2011 |
| Mysterious Skin | Theatre |
Theatre 36 & Drill Hall Em-Lou Productions |
Lighting Designer |
Director: Peter Darney |
May 2011 |
Operation Mincemeat
Fighter
The Flying Bath
Rattled
Prince Charming
Kompromat
Wow! It's Night-Time
Paradise Circus
Women of Aktion
An Evening, A Beginning
Margo: Half Woman, Half Beast
Director's Cut
Oath
Tenome - Eyes on Hand
Persuasion
Frankenstein
Female Parts: Shorts
Electra
Arnika
Izindava
The Singing Mermaid
Evocation
These Trees Are Made Of Blood
The Last Ones
The 'Neath
The Drag
The X
Cinderella
Lights Out
Brrr!
Happy to Help
CAUTION: Safety Goggles Required
The Party
Your Last Breath
In a Vulnerable Place
In Our Hands
10,000 Litres
5 Guys Chillin'
Africarmen
Pierrot Lunaire
Consolation
Easy for You to Say
Speech Acts
These Trees Are Made Of Blood
This Room
The Archivists
Dickens' Ghosts
A Christmas Carol
Home Sweet Home
Chicken Shop
Crystal Springs
This is How We Die
CELL
Cat in the Cupboard
The Snow Spider
Much Ado about Nothing
Arvoles Lloran Por Lluvia
Skin Tight
Moby-Dick
The Shakespeare Conspiracy
ENTER
After the Rainfall
A Midsummer Night's Dream
Goodnight Mrs Calabash
Conquest of the South Pole
Tristan and Yseult
Yerma
Spring Awakening
Your Last Breath
Oh What A Lovely War
99%
Christmas is Miles Away
Othello
Bernarda Alba
The Shakespeare Conspiracy
Where the Flowers Grow
Edges
Mysterious Skin
Operation Mincemeat
split second timing is extended to lighting too as we rapidly switch between scenes in a submarine and a nightclub, via a smart lighting set by Sherry Coenen.
Unrestricted Theatre 08/06/2019
Towards the end of the first half, Sherry L Coenen’s brilliantly versatile lighting design is as quick as the cast’s wit, leaping between a London nightclub and a submarine in the Atlantic Ocean.
Kate Wyver, The Guardian 27/05/2019
Special mention must go to Sherry Coenen's lighting design, running in tandem with Dan Balfour's sound to create a sense of scale that extends way beyond the New Diorama's walls.
Alex Wood, What's On Stage 20/05/2019
Sherry Coenen’s lighting design is top-notch and effective. Using traditional spot focus to great effect for one of the most moving numbers, she shows her range and imagination by also delivering immersive thrills of submerging submarines or raving Nazis in a barnstorming second act opener that needs to be seen.
Mary Beer, London Theatre 1 18/05/2019
The set (Helen Coyston) and lighting design (Sherry Coenen) create illusions of a much grander space, illustrated with particular prowess during a hectic split-scene between a big, bawdy cabaret song and dance, and a dark and echoing submarine under threat of attack. With such a small audience and such a big production, it feels like everyone has the best seats in a much bigger theatre.
Miriam Sallon, The Spy in the Stalls 18/05/2019
Flux
The use of neon lighting built into the periodic style set is a nice touch, which can also be said for the moments in which Tetris comes into motion, all designed by with a subtlety from Sherry Coenen.
Creative Reviews UK 12/06/2019
The use of neon lighting built into the periodic style set is a nice touch, which can also be said for the moments in which Tetris comes into motion, all designed by with a subtlety from Sherry Coenen.
Creative Reviews UK 12/06/2019
Fighter
lighting designer Sherry Coenen expertly bring to life the authentic feel of a sweaty boxing club
The Prickle 26/04/2019
Margo: Half Woman, Half Beast
The musical numbers are also generally when Sherry Coenen’s lighting kicks in from the relatively naturalistic light of Margo’s room to strident reds and blues, with bright footlights completing the evocation of 1920s cabaret.
Andrew Lawston, Mark Aspen 15/03/2019
The musical numbers are also generally when Sherry Coenen’s lighting kicks in from the relatively naturalistic light of Margo’s room to strident reds and blues, with bright footlights completing the evocation of 1920s cabaret.
Andrew Lawston, Mark Aspen 15/03/2019
Frankenstein
The stark set – little more than a series of stools and hanging lightbulbs – is accented brilliantly by Sherry Coenen’s atmospheric lighting. Shadows dance across the walls and emphasise the feeling that these six performers are so much more than the sum of their parts.
Miriam Gillinson, The Guardian 22/03/2019
The soft haze of Sherry Coenen's lighting makes it all feel simultaneously like a gig and a haunting tribute to Shelley's gothic original, all within the huge walls of Battersea's recently reconstructed main space.
Alex Wood, What's On Stage 15/03/2019
Sherry Coenen’s lighting heightens the atmosphere at every turn
Joanna Hetherington, The Spy in the Stalls 15/03/2019
With choreography as tight as their singing, and with Sherry Coenen’s dramatic lighting design, this Frankenstein is exciting and compelling.
Richard Maguire, The Reviews Hub 25/10/2018
The stark set – little more than a series of stools and hanging lightbulbs – is accented brilliantly by Sherry Coenen’s atmospheric lighting. Shadows dance across the walls and emphasise the feeling that these six performers are so much more than the sum of their parts.
Miriam Gillinson, The Guardian 22/03/2019
The soft haze of Sherry Coenen's lighting makes it all feel simultaneously like a gig and a haunting tribute to Shelley's gothic original, all within the huge walls of Battersea's recently reconstructed main space.
Alex Wood, What's On Stage 15/03/2019
Sherry Coenen’s lighting heightens the atmosphere at every turn
Joanna Hetherington, The Spy in the Stalls 15/03/2019
With choreography as tight as their singing, and with Sherry Coenen’s dramatic lighting design, this Frankenstein is exciting and compelling.
Richard Maguire, The Reviews Hub 25/10/2018
The stark set – little more than a series of stools and hanging lightbulbs – is accented brilliantly by Sherry Coenen’s atmospheric lighting. Shadows dance across the walls and emphasise the feeling that these six performers are so much more than the sum of their parts.
Miriam Gillinson, The Guardian 22/03/2019
The soft haze of Sherry Coenen's lighting makes it all feel simultaneously like a gig and a haunting tribute to Shelley's gothic original, all within the huge walls of Battersea's recently reconstructed main space.
Alex Wood, What's On Stage 15/03/2019
Sherry Coenen’s lighting heightens the atmosphere at every turn
Joanna Hetherington, The Spy in the Stalls 15/03/2019
With choreography as tight as their singing, and with Sherry Coenen’s dramatic lighting design, this Frankenstein is exciting and compelling.
Richard Maguire, The Reviews Hub 25/10/2018
The Singing Mermaid
A three-man cast, plus vivid lighting, well-delivered sound, catchy melodies, props and a host of deliciously designed puppets, it makes for top grade daytime entertainment.
Musical Theatre Review 17/12/2017
The set and lighting was spectacular and really made you feel as though you had stepped right into the dastardly Sam Sly’s Circus – much to the children’s delight!
Emily-Jane Clark, Northamptonshire Telegraph 13/12/2017
A three-man cast, plus vivid lighting, well-delivered sound, catchy melodies, props and a host of deliciously designed puppets, it makes for top grade daytime entertainment.
Musical Theatre Review 17/12/2017
The set and lighting was spectacular and really made you feel as though you had stepped right into the dastardly Sam Sly’s Circus – much to the children’s delight!
Emily-Jane Clark, Northamptonshire Telegraph 13/12/2017
A three-man cast, plus vivid lighting, well-delivered sound, catchy melodies, props and a host of deliciously designed puppets, it makes for top grade daytime entertainment.
Musical Theatre Review 17/12/2017
The set and lighting was spectacular and really made you feel as though you had stepped right into the dastardly Sam Sly’s Circus – much to the children’s delight!
Emily-Jane Clark, Northamptonshire Telegraph 13/12/2017
Paradise Circus
a sensitive and unobtrusive lighting plot from Sherry Coenen that enhances each scene.
Richard Beck, Broadway Baby 16/10/2018
The lighting is very important as it heralds all the scene changes and follows scenes which take place off the stage. Very important and clever lighting design by Sherry Coenen
Aline Waites, Remote Goat 15/10/2018
Free and Proud
Peter Darney’s production of Charles Gershman’s Free & Proud is a stripped down affair...The only theatrical support comes from Nicola Chang’s soundscape and Sherry Coenen’s subtle lighting design.
Paul F Cockburn, Broadway Baby 02/08/2018
An Evening, A Beginning
Female Parts: Shorts
The use of lighting to symbolise the turning on and off of the video camera is also an interesting quirk from Lighting Designer Sherry Coenen.
Roberta Wiafe, A Younger Theatre 21/03/2018
with very little set, the lighting is the main supporting component. Switching between yellow and blue, it takes us between flashbacks and the present.
Laura Foulger, The Upcoming 17/03/2018
Sherry Coenen’s lighting is architecturally daring (see especially the light from the window in A Woman Alone)
Katherine Waters, The Arts Desk 17/03/2018
Electra
Sherry Coenen’s lighting is simple and playful, engaging the audience and inviting them into the narrative.
Max May, Live Theatre UK 20/03/2018
Atmospheric lighting also helps to make the production feel edgy, and compelling.
Harriet Wilson, Onstage Blog 16/03/2018
Electra’s throbbing soundtrack is accompanied by an equally pulsating lighting design by Sherry Coenen, which incorporates both the strip lights that make up the bulk of the set and the little table lamps that are dotted around the auditorium. The overall picture is evocative, and when the lighting works in tandem with the music, like in the scene where Orestes consults the oracle, the effect is absolutely fab
Eva de Valk, Everything Theatre 11/03/2018
David Hewson effortlessly weaves composition into the show, as natural and effective as Sherry Coenen’s subtle lighting shifts.
Daniel Perks, Miro Magazine 08/03/2018
The live music effectively creates atmosphere and develops tonal shifts – the lighting by Sherry Coenen is similarly well designed.
Alice Carlill, Theatre Full Stop 07/03/2018
Sherry Coenen’s excellent lighting is a meeting of cold blue fluorescence one end of the stage and earthy oranges on the other
Tim Bano, The Stage 02/03/2018
Sherry Coenen’s lighting design works perfectly with this setup, the strip lights providing much of the atmosphere (the bloody red that symbolises death is especially striking) – and there’s an intriguing touch as some table lamps set amongst the audience light up at various stages.
Debbie Gilpin, Mind the Blog 02/03/2018
In Our Hands
Sherry Coenen’s lighting reaches its finest moment in correspondence of a radio conversation between boats, when the auditorium is immersed in darkness and the cast uses flashlights to illuminate the mini-vessels alternately.
Marianna Meloni, Pocket Sized Theatre 18/09/2016
Sherry Coenen’s lighting reaches its finest moment in correspondence of a radio conversation between boats, when the auditorium is immersed in darkness and the cast uses flashlights to illuminate the mini-vessels alternately.
Marianna Meloni, Pocket Sized Theatre 18/09/2016
Sherry Coenen’s lighting reaches its finest moment in correspondence of a radio conversation between boats, when the auditorium is immersed in darkness and the cast uses flashlights to illuminate the mini-vessels alternately.
Marianna Meloni, Pocket Sized Theatre 18/09/2016
Sherry Coenen’s lighting reaches its finest moment in correspondence of a radio conversation between boats, when the auditorium is immersed in darkness and the cast uses flashlights to illuminate the mini-vessels alternately.
Marianna Meloni, Pocket Sized Theatre 18/09/2016
Give Me Your Skin
Cameron Macaulay’s catchy stings work with Sherry Coenen’s low-tech, glitzy lighting to make something warmly ironic and home-made enough to get people willingly onstage.
Emily Holyoake, Exeunt Magazine 30/06/2017
Africarmen
As I arrive at the performance space, I immediately feel the heat, as I notice the stage is lit up as if the sun is shining directly on it.
Gemma Hirst, Northern Lights 15/02/2016
Sherry Coenen’s shadowy lighting sometimes drenched in direct red light, certainly helps to build the mystery and excitement.
Ron Simpson, The Reviews Hub 05/11/2015
As I arrive at the performance space, I immediately feel the heat, as I notice the stage is lit up as if the sun is shining directly on it.
Gemma Hirst, Northern Lights 15/02/2016
Sherry Coenen’s shadowy lighting sometimes drenched in direct red light, certainly helps to build the mystery and excitement.
Ron Simpson, The Reviews Hub 05/11/2015
Cinderella
Sherry Coenen’s lighting adds to the magical impression.
Anne Morley-Priestman, Annie at the Theatre 07/12/2016
5 Guys Chillin'
Blackouts, eerie dimness, and an incidental soundtrack of pop songs are features of Sherry Coenen’s lighting design and Jo Walker’s sound design, respectively. Their vibrant efforts are intrinsic to the production’s success.
Darryl Reilly, TheaterScene.Net 29/09/2016
The show is nicely lit by Sherry Coenen, especially in the brief slo-mo cuddle- huddles
Peter Yates, London Theatre 1 10/02/2016
Blackouts, eerie dimness, and an incidental soundtrack of pop songs are features of Sherry Coenen’s lighting design and Jo Walker’s sound design, respectively. Their vibrant efforts are intrinsic to the production’s success.
Darryl Reilly, TheaterScene.Net 29/09/2016
The show is nicely lit by Sherry Coenen, especially in the brief slo-mo cuddle- huddles
Peter Yates, London Theatre 1 10/02/2016
Blackouts, eerie dimness, and an incidental soundtrack of pop songs are features of Sherry Coenen’s lighting design and Jo Walker’s sound design, respectively. Their vibrant efforts are intrinsic to the production’s success.
Darryl Reilly, TheaterScene.Net 29/09/2016
The show is nicely lit by Sherry Coenen, especially in the brief slo-mo cuddle- huddles
Peter Yates, London Theatre 1 10/02/2016
Happy to Help
Using a glaring strip-light approach throughout, perfectly designed by Sherry Coenen, the eternal dreary repetitiveness of the work is firmly established and mirrors the play’s references to broken dreams and resigned futility.
Maryam Philpott, The Reviews Hub 16/06/2016
CELL
Sherry Coenen’s lighting is also refreshing, with simple washes and specific illuminations being employed to highlight poignant moments in Ted’s story
Adam Bruce, A Younger Theatre 23/05/2016
Smoking Apples and Little Cauliflower have created a partnership that truly understands the power of what they do and the limitless potential of their artform. From Sherry Coenen’s lighting design and the great use of light in telling ‘Ted’s’ story, and Samuel Wyer’s shadow puppetry to composer Emily Appleton Holley’s music which is hauntingly beautiful there isn’t a moment within this production that hasn’t been greatly thought of.
The New Current 15/03/2015
Sherry Coenen’s lighting is also refreshing, with simple washes and specific illuminations being employed to highlight poignant moments in Ted’s story
Adam Bruce, A Younger Theatre 23/05/2016
Smoking Apples and Little Cauliflower have created a partnership that truly understands the power of what they do and the limitless potential of their artform. From Sherry Coenen’s lighting design and the great use of light in telling ‘Ted’s’ story, and Samuel Wyer’s shadow puppetry to composer Emily Appleton Holley’s music which is hauntingly beautiful there isn’t a moment within this production that hasn’t been greatly thought of.
The New Current 15/03/2015
This is How We Die
What I hadn’t noticed before in the show was how masterful Sherry Coenen’s lighting design is even before the spectacular ending – imperceptibly connecting us to Bailey then isolating him again. It matches the almost trance-like effect of the text itself
Lilith Wozniak, Exeunt Magazine 09/05/2018
The gentle shift of the lighting subtly underscores the tone and eventually dominates at the coda.
Christopher Hong, The Public Reviews 31/10/2014
The subliminal lighting design of Sherry Coenen adds to the spirituality of the last fifteen minutes of the production. Coenen lights the stage in a mixture of elements of a great rock concert and instances of higher ascension, like celestial gates opening upon death. Fading in and out with barely a glimmer of the musicians, painting them as haunting angels of death, Coenen elevates the performance.
Andres Ordorica, A Younger Theatre 19/06/2014
At the end of Christopher Brett Bailey’s performance of This is how we die the audience are subjected to – and it is a case of being subjected to rather than being passive observers of – a sonic assault that is best imagined as the sound of an imploding, decaying universe and the tentative hope that something new and beautiful can rise from the fading flickering light. The stage lights turn their impassive bulbs on the audience, bathing the observers in a harsh, unforgiving light whilst ear-shattering, fuzzy rhythms rise and fall, roll and repeat, looping and overlaying motifs amongst discordant sounds.
Civilian Theatre
What I hadn’t noticed before in the show was how masterful Sherry Coenen’s lighting design is even before the spectacular ending – imperceptibly connecting us to Bailey then isolating him again. It matches the almost trance-like effect of the text itself
Lilith Wozniak, Exeunt Magazine 09/05/2018
The gentle shift of the lighting subtly underscores the tone and eventually dominates at the coda.
Christopher Hong, The Public Reviews 31/10/2014
The subliminal lighting design of Sherry Coenen adds to the spirituality of the last fifteen minutes of the production. Coenen lights the stage in a mixture of elements of a great rock concert and instances of higher ascension, like celestial gates opening upon death. Fading in and out with barely a glimmer of the musicians, painting them as haunting angels of death, Coenen elevates the performance.
Andres Ordorica, A Younger Theatre 19/06/2014
At the end of Christopher Brett Bailey’s performance of This is how we die the audience are subjected to – and it is a case of being subjected to rather than being passive observers of – a sonic assault that is best imagined as the sound of an imploding, decaying universe and the tentative hope that something new and beautiful can rise from the fading flickering light. The stage lights turn their impassive bulbs on the audience, bathing the observers in a harsh, unforgiving light whilst ear-shattering, fuzzy rhythms rise and fall, roll and repeat, looping and overlaying motifs amongst discordant sounds.
Civilian Theatre
10,000 Litres
Sherry Coenen’s lighting completes a predominantly clinical environment for these breathing machines
Nicholas Minns, Writing about dance 18/05/2017
The State vs John Hayes
Sherry Coenen’s lighting also does well to augment moments of The State vs John Hayes, creating different colours and tones for when certain personalities are being explored. These prick your visual attention, but never take away from Roslyn’s performance, merely adding atmosphere and definition to some of the things that are going on rather than distracting or being overbearing.
JWaygood, Grumpy Gay Critic 02/11/2015
It’s an extraordinary physical performance from Roslyn, cleverly enhanced by Sherry Coenen’s lighting, as the two facets of her self are delineated but also marked as two ends of the same gender-fluid spectrum as opposed to two separate personae
Ian Foster, There Ought To Be Clowns 31/10/2015
Lighting Designer, Sherry Coenen made a brilliant contribution with her expert timing.
Heather Jeffery, London Pub Theatres 30/10/2015
It’s a disjointed and fragmented tale that is often difficult to follow, though that only feeds into the notion of the character’s psychiatric imbalance, mirrored by subtle changes in lighting
The Gizzle Review 30/10/2015
Lighting designer Sherry Coenen reminds us of John’s threatening presence with greenish pulses when Elyese is struck with a crippling back spasm, a symbol of the control he has over her. The subtle heartbeat in dangling filament lights is Elyese’s, which will cease all too soon as electricity surges through her slender, fragile-looking body.
Laura Kressly, The Plays The Thing UK 30/10/2015
Nobody's Business
Sherry Coenen lights the action well, and the sense of dubious exoticism created by the lighting effects is rather ingenious.
Stephen Collins, BritishTheatre.com 05/10/2015
Speech Acts
Benjamin’s 2006 opera offers a swarm of pizzicato strings, ruminative flute and angular brass suspended over the dank blink of a cimbalom. Here Sherry Coenen’s lighting designs are at their most expressive
Anna Picard, The Times 09/04/2015
This Room
Her piece is built up in a very controlled manner, and her use of lights that slowly form the walls of a room around her and the sound design of whispering voices help her to build an incredibly raw tension
Franciska Éry, A Younger Theatre 09/05/2015
The lightbulbs suspended from the ceiling flare and flicker like neurons firing in the brain.
Catherine Love, Exeunt Magazine 28/02/2015
Arvoles Lloran Por Lluvia
Sherry Coenen’s lighting design has a real softness and beauty to it, creating the barren wasteland which the company dances through
Amy Lawrence, Bargain Theatreland 08/10/2013
Skin Tight
subtle lighting changes from soft pinks to colder greens by Sherry Coenen which shift us between timeless to time-pressed
Vicky Ellis, Whats on Stage.com 19/07/2013
at the same time it is a dream landscape and it is subtly lit by Sherry Coenen
Howard Loxton, British Theatre Guide
After the Rainfall
Paired with Gareth Taylor’s movement, John-Marc Gowans’ impressive use of video and Sherry Coenen’s subtle yet effective lighting, After The Rainfall becomes a totally immersive world – a treat for both ear and eye.
Glen Pearce, The Reviews Hub 27/09/2013
Githa
Sherry Coenen’s simple but evocative lighting design. As Davies switches character—for instance between a female speaker espousing economic and political equality from the lectern, and the shocked but intrigued Githa—the light similarly snaps, augmenting the sense of transformation.
Mark Smith, British Theatre Guide 29/05/2013
Moby-Dick
And Armesto’s pacy, well modulated production gains buoyancy from a sprinkling of authentic sea shanties and good lighting design from Sherry Coenen
Siobhan Murphy, The Metro 05/04/2013
It is certainly a very attractive production, heightened by beautiful lighting design by Sherry Coenen.
Lizzie Kirkwood, The Public Reviews 05/04/2013
Lighting effects (Sherry Coenen) created with hand held lanterns evoke a sense of the briny deep
Bryony Hegarty, N16 Magazine 05/04/2013
Sherry Coenen’s lighting design is atmospheric and inventive
Amy Lawrence, Bargain Theatreland 05/04/2013
The Cabinet of Dr Caligari
There’s upbeat music and humorous one-liners alongside an inventive use of lighting to create ominous shadows
Daisy Bowie-Sell, The Telegraph 19/02/2013
Imaginative lighting and staging combine with music and physical performance to create a highly aesthetic approach to theatre
Greg Jameson, Entertainment Focus 14/02/2013
subtle lighting changes completely alter the tone, and it is often as seamless as film
Piero McCarthy, Bargain Theatreland 14/02/2013
Simon Allison, Sebastian Armesto and Sherry Coenen’s paired back, minimalist approach has the twofold benefit of saving money while harnessing the spirit of the original
Patrick Brennan, Whats on Stage.com 14/02/2013
Impossible to praise individual actors in such an ensemble: they all perform in harmony with the writing, the effects, the music, the lighting (Sherry Coenen) in a production that is entertaining, thought-provoking, terrifying and funny.
Jill Truman, Islington Gazette 14/02/2013
Steve and Then It Ended
Sherry Coenen’s lighting design is used to fabulous effect, leading the audience between kitchen sink realism and stylised soliloquy with ease
Lizzie Kirkwood, The Public Reviews 11/01/2013
Your Last Breath
Bernarda Alba
Some atmospheric lighting heightens this tension, alternating between the dull yellow of a dying day and a diffuse red glow that reflects the girls’ mounting sexual frustration.
Tom Wicker, Exeunt Magazine 26/08/2011
a beautiful lighting design by Sherry Coenen that expertly enhances the piece’s dynamic shifts between naturalism and expressionism.
Alex Ramon, British Theatre Guide
Where the Flowers Grow
Heike Scharrer’s set and Sherry Coenen’s lighting reflect the emotional underscoring to this piece
Paul Vale, The Stage 10/06/2011
Mysterious Skin
All the time, there is the simmer of something sinister and not quite right with their stories. This is helped along by Sherry Coenen’s atmospheric lighting,
James Waygood, So So Gay 23/09/2011
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Appearing here soon... a collection of articles from the Focus magazine archives.
