Press - Howard Hudson | Lighting Design

"The traverse staging and Howard Hudson's subdued lighting design invoke a darker, more dangerous Broadway where guys will do anything for a fast buck and dolls schlep in seedy burlesque while dreaming of married bliss far away from the urban sleaze. "

Guys and Dolls - The Stage

"Inventive choreography and atmospheric lighting mean that tent-pole numbers 'Luck Be a Lady' and 'Sit Down, Your'e Rockin' the boat' also grab you're attention and don't let go. "

Guys and Dolls - Time Out

"Martin Thomas and lighting designer Howard Hudson turn the shoebox-sized Jermyn Street stage into an atmospheric theatre. "

Burlesque - Variety

"The show is subtly and evocatively lit by Howard Hudson. "

Noel and Gertie - Classical Source

"In a nod to Tateh's silhouettes, the cityscape and waves of the ocean are evoked by projected shadows (designed by Martin Thomas), with transitions between settings aided by Howard Hudson's creative lighting. "

Ragtime - Exeunt

"The staging is also brilliantly flexible in evoking a huge range of locations both indoors and out, Howard Hudson's lighting is exceptional here. "

Parade - Public Reviews

"John Risebero's design is simple but effective - traverse staging with an exposed wooden floor flanked by platforms and a staircase which Howard Hudson's lighting exploits. It's rare to see such an accomplished lighting design in the fringe, but Hudson explores every nook and cranny to create an environment which flits between the hot Georgia sun and the dank prison cells. "

Parade - Gay Times

"The seven piece band with its highly evocative percussion section is atmospheric and Howard Hudson's lighting is even more than up to his usual standard. "

Parade - Remotegoat

"The set my Martin Thomas is a miracle of ingenuity and lighting designer Howard Hudson is simply one of the very best in British Theatre. "

Guys and Dolls - Ham and High

"John Risebero's design is simple yet haunting, and Howard Hudson's evocative lighting suggests the changing times and spaces that frame the story. "

Parade - Fourthwall Magazine

"Framing it all is Howard Hudson's lighting design, whose technical mastery provides definition to both the epic of World War One and the intimacy found in the small Cumbrian village. Hudson's craft here is to punctuate the episodic nature of the text, drawing the eye to detals implicit to the narrative. His balance of backlight and closely focused spotlight highlights the emotion in the songs, interweaving them into the character anguish, love and desire as well as interweaving sequences beautifully. "

The Hired Man - Fringe Review

"Freya Groves' intelligent design, beautifully lit by the ubiquitous Howard Hudson, makes much of the Landor's limited space. "

The Hired Man - The Stage

"Designer, John Risebero has done a superb job realising the attic, as has lighting designer Howard Hudson in creating hot-spots and secret shadows. "

The Diary of Anne Frank - Extra Extra

"John Risebero's celeverly designed set and Howard Hudson's lighting contribute enormously to the claustrophobic atmosphere. "

The Diary of Anne Frank - Ham and High

"Designer Martin Thomas has created a suitably surreal farmhouse of empty picture frames, half-finished walls and staircases through which shafts of light squeeze through and cast dark shadows (exemplary work from lighting designer Howard Hudson). "

Buried Child - The Stage

"The location is shown as 'a squalid farm home' in the program is excellently realised in Marin Thomas's design, and Howard Hudson's carefully graduated lighting scheme. "

Buried Child - The Public Reviews

"Howard Hudson's lighting features prominently as the stage hands Bob and Sidney weald the spotlights on stage themselves, a technique which illuminates the show as much literally as it does metaphorically. Moreover, the overall mix of beaming flood light in the stage sequences and brooding mood light when 'backstage' builds a dichotomy which enriches the balance of the piece and reminds the audience of the two faces of every theatre. "

Me and Juliet - Extra Extra

"Designer Alex Marker has transformed the tiny Finborough space into a Broadway theatre and complimented by Howard Hudson's flawless lighting design, this time an important feature of the plot. "

Me and Juliet - The Stage

"Agnes Treplin's gleamingly Modernist set keeps the tension high. Even the scene changes are exciting with their jabs of light and rattles of machinery. "

The Consultant - The Times

"...with bold direction that is both stylish and seamless, supported by Racky Plews' statement choreography and Howard Hudson's key lighting. "

A Slice of Saturday Night - The Stage

"A Slice of Saturday Night is a slick production, well produced, casted and choreographed to high standards, both lighting and set design were well executed. "

A Slice of Saturday Night - Extra Extra

"...production designer Chris Hone's simple, but versatile set is complemented by Howard Hudson's lighting design to provide the myriad of locations necessary for the journey. "

Just So - The Stage

"Sophie Jump's simple set consisting of just a ribbon-constructed pavilion brought to life by Howard Hudson's lighting design, interestingly provided all the backcloth and most of the props too. "

People's Romeo - Whats On Stage

"The set changes are tactfully intergrated into the scenes via cued lighting which oils the performance and cleverly allows no moment for theatrical disillusionment. Howard Hudson's lighting seems nearly as much as the set per se. Glowing warm for a bedroom sunrise, or thick and hazy for a day on the beach, its tonal charm gives perfect shading to perfect actors and duly fortifies the whole production. "

Maurice - Extra Extra

"Sophie Jump's simple ribbon set is lit beautifully by Howard Hudson, lending an appropriately minstrel ambience to this tour. "

People's Romeo - The Stage

"Production values at the Landor are always splendid and this time they have surpassed themselves with stunning costumes and an effective theatrical set by designer Martin Thomas, perfectly lit by Howard Hudson. "

Smokey Joe's Cafe - Remotegoat

"Martin Thomas' set splits the performance space imaginatively while Howard Hudson's lighting adds much needed atmosphere. "

Smokey Joe's Cafe - The Stage

"Lighting by Howard Hudson continued the nostalgic theme, reminiscent of musicals like 'Grease' or 'Fame', adding that extra touch of glamour and self conscious theatricality. "

Smokey Joe's Cafe - Extra Extra

"Designer Martin Thomas' set is simple and uncluttered but creates some lovely visuals and a suitably magical setting. I was particularly taken with Howard Hudson's lighting design: it is hugely complicated but made to look incredibly simple and changes from lighting state to lighting state so fluidly. "

Smokey Joe's Cafe - The Public Reviews

"Aided by Howard Hudson's extremely atmospheric lighting, the intimacy of the space works well for this play. "

Bent - Remotegoat

"The front row of the audience practically rest their feet on the stage but this is part of the pleasure and gives them ample opportunity to admire the careful lighting planning of Howard Hudson. "

Classic Moments: Hidden Treasures - The Public Reviews

"A quick mention must go to Freya Groves, Howard Hudson and Connie Glover for their sterling work on design, lighting and sound. "

Bent - Broadway World

"A cleverly designed lighting plot courtesy of Howard Hudson creates a smoky Berlin where characters in costumes by Freya Groves lurk in the shadows as large Nazi banners remind the audience of their constant omnipresence. "

Bent - British Theatre Guide

"The art department deserves a lot of credit. Designer Kevin Jenkins has created a set that really brings history to life. Along with Howard Hudson's lighting design, the stage is imbued with a honey coloured glow that permeates the rough, wood based set making it feel very 1930's. "

1936 - Fringe Review

"There's a fine opening, with a sense of black-and-white film, as the characters enter in Howard Hudson's shadowy lighting. "

1936 - Reviewsgate

"...and there are some striking moments in Jenny Lee's production: the image of Bell as Owens, caught in a beam of light and running in slow-motion, is a reminder of the sporting prowess that the Olympics were created to celebrate. "

1936 - The Times

"This epidsodic production moves swiftly from scene to scene within Kevin Jenkins' cleverly designed open plan set that serves as an atmospheric background, which, with its controlled area lighting, allows for a seamless flow that builds up the intensity of the piece."

1936 - whatsonstage.com

"A film noir aesthetic is created by the flawless lighting and sound design from Howard Hudson and Tom Gibbons respectively."

1936 - thepublicreviews.com

"1936 is an informatice piece of theatre with excellent production values; timing of light and sound cues is impeccable and the cast are faultless in their precision with set and character changes."

1936 - thepublicreviews.com

"Although the Stag Theatre is a performance space in a white rectangle, minimal use of props enhanced the production maintaining focus on the actors, with netting and dark shadowing used to great effect."

Maurice - Totally Theatre

"An accomplished performance by the whole cast, who certainly make the most of the well written dialogue. The inventive lighting, particularly during the dream sequence, and also the imaginative direction, bring together a fine production. "

Maurice - thepublicreviews.com

"This is a superb production, dreamy and quite beautfiul to look at, and can only enhance the reputation of Above the Stag as one of London's most exciting new fringe theatres."

Maurice - Broadway Baby

"It is beautiful to look at - like a series of paintings by Jacques-Louis David, the lighting of Howard Hudson against a plain dark background highlights the tasteful grouping by director Paul Nicholas and the appropriate costumes by Mike Lees. A stunning production - not to be missed "

A Tale of Two Cities - Ham and High

"Sound effects and music help lift this production which is carefully and precisely lit and it is sumptuously dressed with animals suggested by part masks."

The Lion, the Witch and the Wardrobe - British Theatre Guide

"The costumes are exquisite, ranging from see-through wire frame unicorn masks, wonderfully lit secret police wolves, and the African majesty of Aslan."

The Lion, the Witch and the Wardrobe - Camden New Journal

"Lighting designer Howard Hudson puts lamps over the whole performance space and applies light sculpturally to the faces of the funeral mourners, the masked ball dancers, the tomb, the fights. His tray of altar-lights carried by the cast and put by them all over the back wall to create Juliet's tomb are master-stroke."

Romeo and Juliet - Fringe Report

"Charismatic lion-king Obioma Ugoala benefits from a marvellous long entrance, as the back-wall of the stage opens to reveal the apse beyond, bathed in golden light."

The Lion, the Witch and the Wardrobe - London Theatre Blog

"...you know what you will get with a design that has been well thought out and true to the nature of the piece, and that's just what you get with the set of Into the Woods with subtly atmospheric lighting by Howard Hudson this show is a visual treat. "

Into the Woods - thepublicreviews.com

"The set is an ingenious combination of projection, small tunnels and a facade that seeps its way into the audience which makes the playing space look deceptively large. Lighting design was spot on too and with some subtle touches often lacking in Fringe pieces."

Into the Woods - remotegoat.co.uk

"John Risebero's sparkly set and Howard Hudson's neat lighting give a professional polish to the production that entertains."

The Shakespeare Revue - The Stage

"The clever set by Mike Lees had to provide space for a grand piano at each side and it was impressive that you tended to forget they were there since Paul Nicholas had kept the focus on the actors clearly delineated. Howard Hudson's lighting also played a large part in making this a succesful piece in every way.."

A Tale of Two Cities - Musical Stages

"Lighting and design are nicely moody, the band is sprightly and the droll use of technology is a visual delight. "

Into the Woods - whatsonstage.com

"The Gatehouse's mid-winter production conjures a summery palace in the country from gauze and lighting and re-crafting the scene changes keeps both the story and songs flowing."

High Society - Reviewsgate