Here, centre stage is a car park - one of the dark and potentially fearful corners of night-time Leeds.  Sat on upturned crates and listening in through headphones, the audience observe the series of after-dark encounters that play out across this wide outdoor arena.  It's an empty, exposing space, one in which Madeline Shann's lone female walker looks particularly vulnerable. 

Catherine Love, Exeunt Magazine

Katherine Williams' lighting design is inventive and effective, linking fixed floodlights with handheld spots and a line-up of cars in ominous shadows, to cast light into these darkest corners.  And Oliver Townsend's design scales beautifully up to the wide open space of the car park. 

Mark Smith,  British Theatre Guide 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Looking into the Darkest Corners: podcast interview with Mark Smith here.