The Glass Menagerie (2025)
Tennessee Williams
Venue: Dundee Rep, Citizens Glasgow, Lyceum Edinburgh
Company: Dundee Rep
Director: Andrew Panton
Designer: Emily James
Lighting Design: Simon Wilkinson
Sound Design: Reuben Joseph
Movement: Emily Jane Boyle
Associate Director: Fraser Scott
Production Electrician: Rory Kay
Lighting Programmer: Karin Anderson
Photographer: Tommy Ga Ken Wan
Press Quotes
Emily James’s barest suggestion of a set – a spiral staircase, a breezy window frame, a hint of gloomy wallpaper lit in moody blues by Simon Wilkinson
Mark Fisher, The Guardian
Simon Wilkinson’s lighting design bathes the stage in hues that move from warm lamplight to stark, isolating shadows. Lighting and colour is used sparingly but effectively, hinting at the outside world that Tom longs for and Laura fears.
Dominic Corr, Corr Blimey
Lighting is startling, managing to illuminate more than just the set and the performances within it. It encloses the openness of opportunity whilst showing us the limits of their lives. Shadows obscure areas whilst light happens upon the exits Laura shall never use.
Donald C Stewart, British Theatre Guide
Simon Wilkinson’s lighting design – bouncing off the glass animals and creating the effects of candlelight – is simply stunning.
Hugh Simpson, All Edinburgh Theatre
Heightened by Simon Wilkinson’s low level lighting that lends things a suitably sepia tinged veneer. The result is a lingering dream state that hangs over Panton’s stately production of a play
Neil Cooper, The Herald
Simon Wilkinson’s lighting design is stunning, particularly later in the performance when they experience a power cut and are sitting by candlelight.
Natalie O’Donoghue, Broadway World
achieves the atmospheric, dream-like quality that Williams intended. This is down in no small measure to designer Emily James’s excellent, impressionistic set and Simon Wilkinson’s gorgeously responsive lighting.
Mark Brown, The National
Simon Wilkinson’s light design perfectly complements the ethereal atmosphere, at times illuminating the characters’ faces in such a way as to almost create cinematic close-ups
Susan Singfield, Bouquets and Brickbats
