Reviews
Reviews
What critics have written about the video and projection design. Each entry is a short summary, with a link to the full review.
Aspects of Love
Lyric Theatre, London · 2023 · Directed by Jonathan Kent
CultureWhisper★★★★★
A five-star review that singles out the projections for carrying the audience through the back streets of Paris, into theatre auditoriums and across sunlit vineyards, and for adding movement to the painted backdrops, with leaves stirring in the wind.
The Wizard of Oz
London Palladium · 2023 · Directed by Nikolai Foster
WhatsOnStage — Alex Wood, 7 July 2023★★★★☆
Names Douglas O’Connell as projection designer and credits his work with many of the production’s smaller touches that stand out, among them a nod to the actress who played the Wicked Witch in the 1939 film and a closing reference to Andrew Wyeth’s painting Christina’s World.
The Magic Flute
Opera North, Leeds Grand Theatre · 2024 · Directed by James Brining
Charles Hutch Press — Martin Dreyer
Credits Douglas O’Connell with the video effects, which he finds high-impact, and says they deliver once again alongside Colin Richmond’s flexible set.
Identical
Nottingham Playhouse · 2022 · Directed by Trevor Nunn
East Midlands Theatre — Phil Lowe, 3 August 2022★★★★☆
Credits the video design, together with Robert Jones’s set and Johanna Town’s lighting, for moving the audience between countryside and city almost instantly.
Sunset Boulevard
Curve, Leicester, and UK tour · 2017–18 · Directed by Nikolai Foster
British Theatre — Douglas Mayo, 23 January 2018★★★★★
Describes a filmic production in which scenes dissolve and locations shift, and says the historic film and location footage helps build the world Norma Desmond lives in.
An Officer and a Gentleman
UK tour · 2018 · Directed by Nikolai Foster
OnStage Blog — Lewis Baird★★★★★
Calls the projections excellent, and says that together with the lighting they make a minimalist set look complex and visually striking.
Pinocchio
National Ballet of Canada · 2017 · Choreographed by Will Tuckett
The Dance Current — Dina Ginzburg, 19 March 2017
Credits the projections with bringing technology into the production and keeping the stage in constant motion, with some images appearing three-dimensional and making the show feel immersive. She calls the stagecraft striking even by the company’s standards.