Now, I See
Theatre Royal Stratford East
Writer, Director, Movement Director Lanre Malaolu
Scenographer Ingrid Hu
Composer Jan Brzezinski
Lighting Designer Ryan Day
Sound Designer Pär Carlsson
Costume Designer Debbie Duru
Associate Director Kirk-Ann Roberts
Assistant Choreographer Rochea Dyer
Production Dramaturg Roy Alexander Weise
Dramaturg Anthony Simpson-Pike
Production Dramatherapist Wabriya King
Costume Supervisor Olivia Ward
Production Manager Daniel Steward
Company Stage Manager Vanessa Sutherland
Stage Manager On Book Meghan Hodgson
Artist Collaboration Joseph Ijoyemi
Photographer Camilla Greenwell
Ryan Day’s lighting brilliantly evokes changes in time and place, sometimes creating spectral hues within the stage’s black depths, along with luminous colour when we return to playful memories. - The Guardian
Ryan Day’s brilliant lighting effectively moves us into the surreal, using lines of fabric to create an ethereal glistening of light; It’s a subtle touch yet absolutely mesmerising. - Broadway World
The drapped ribbons that decorate the foreground, combined with Ryan Day’s lighting, delivers a captivating visual experience. - The Rendition
Occasionally, performers dip their arms inside, bringing up fistfuls of liquid that pours between their fingers or splashes over the stage, creating graceful arcs under Ryan Day’s nimble lights. - The Stage
Slick visuals from scenographer Ingrid Hu and lighting designer Ryan Day, and an impeccable soundscape by composer Jan Brzezinski and sound designer Pär Carlsson completes this high-value production.
- North West End UK
The vastness of this void is particularly striking with the illuminating of only the three actors (Ryan Day). The contrast of the bright illumination with the stark black stage, makes the stage feel infinite and the characters lost and found all at once. This changes significantly in the flashbacks, with warm colourful lighting (even a red and blue light saber) makes an appearance. - Adventures in Theatreland
When the light hits the water it reflects above the arch of the stage onto the ceiling, and use of light and shadow makes the ruching appear to be moving. It feels as though the whole stage is moving. Not moving. Breathing.
- The Black Project
With lighting and sound design from Ryan Day and Pär Carlsson that gives it depth and also a clear impression that there are other people just out of sight in a next door room. - Theatre & Tonic
