The light of British lighting designer K.J makes me gasp. A stripe of white on the high horizon at the beginning widens, doubles and progresses to fire red in the underworld. Not through gradations in sweet pink, but through shades that I – boom – recognize as blood in water.

Wendy Lubberding - Theaterkrant

Lighting by K.J is dramatic glaring neons and blinding reds, but complements without distracting.

Maggie Foyer - Dance Europe

[The choreography] stands out tellingly. This is evident from the dazzling backlight of fluorescent tubes and the trendy costumes with bright pink accents.

Annette Embrechts - de Volksrant

"Lighting Designer, K.J, does structural manipulations of laser-beam frisson any stadium band would die for."

John Kennedy - The Reviews Hub

"K.J's lighting adds a brooding presence that encapsulates the light and dark of both the music and the human experience encapsulated in it."

Diane Parkes - WhatsOnStage

"...dramatic lighting (by K.J)..."

Roslyn Sulcas - New York Times

"Lighting design by K.J creates the perfect ambience of a rock concert with the elements of classical performance and intrigue..."

Louise Martin - West End Best Friend

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"Emily Aboud’s direction is energetic and fun. It feels a lot like an online video, with K.J’s bright pastel lighting design and Eliyana Evans’ boppy pop sound design complementing this aesthetic."

Auriol Reddaway - The Spy In The Stalls

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"The lighting design by KJ was particularly effective and complements and jolts the action at the appropriate moments in the story."

Stephen Stokoe - In Newcastle

"Jameson and his designers (Justin Williams - set, K.J - lighting) have done a fabulous job of creating a crazy, camp alternative universe. The setting is both glam and a little seedy..."

Alun Hood - WhatsOnStage

"... and a mention for the lighting from K.J. There is a clever us of stark white beams in the flies aimed behind the V shaped set, with smoke adding an air of mystery, doors open into light or dark, wall lights add to the hotel feel when needed, lighting all helping to make the scene that of a busy hotel, welcoming, sinister, dark, frightening... whatever the mood."

Behind The Arra

"I have to point out too the absolute magic that is K.J's fantastic lighting design throughout the entire production but also in particular during The Bodyguard and and after we sailed a thousand skies. Much like Amanda Stoodley’s straight-forward set design, Johnson’s lighting is relatively simple and yet completely enhances the power of every important moment and performance. Stoodley and Johnson clearly worked together to create set and lighting that would feel consistent and complimentary."

The Theatre Tourist

"The six disparate plays are held together by Amanda Stoodley’s flexible set design: a series of oddly beautiful scaffolding structures, elegantly lit by K.J, suggestive of the changing structures of the city around the Playhouse"

Catherine Love - The Guardian

"The lighting (by K.J) plays a huge part in the piece. Haze hangs over the whole stage, through which narrow side-lighting is able to pick out even the smallest of details: at one point all that is being illuminated is a hand - but that hand was so expressive! The absolute precision of the lighting is a major contributor to the overall effect."

Peter Lathan - British Theatre Guide

"K.J's lighting design is outstanding."

Mike Dixon - Dance Europe

"The dancers also have the benefit of K.J's stunning lighting design. This skillfully evokes everything from a stage full of cramped cells to the moving seas."