Stage lighting is usually best when not noticed, as was most of the work of Wally Eastland in this show, but the exemplary work of this Asheville-born, Australian-based lighting designer was more than noted, particularly in the moonlight-over-Manhattan scene with Vera and Leo on the couch. Memorable imagery.
JIM CAVENER, Asheville Citizen-Times 12/10/2015

at The Butterfly Club, there is little room for elaborate hoo-ha. A set designer must be smart with how they use a confined space, in order to ensure that the set remains true to the dramaturgy of the play, while making sense to its audience. Props used need to be manageable for all stage hands and able to signify multiple scene locations, whilst maintaining the flow of production when props are moved on and off the stage. Easier said than done, but Pluck! nailed it. ... Using nothing but six wooden boxes and a few props hidden within, the audience is transported to all locations within the production, which can only support the strength of the stage play itself, as well as its direction and execution. Looking back, I am impressed at how well I was able to mentally conceptualise the accoutrements missing from the set, which goes to show how extravagant sets are not always a necessity for production success. In fact, the ability for a... continue reading
Gemma Pass, Desktop Mag 03/07/2015

The set and lighting design by Wally Eastland are outstanding, from the opening scene in the deep dungeon to the backlit scrim which shows Don Quixote and Dulcinea in magic cameo squares, as though projected by film.
Henry Vermillion, The Sandpaper 31/10/1989