Chris Withers’ clever lighting is a visual treat
Pete Shaw, Broadway Baby 27/03/2018

The traverse staging – with Chris Withers’ pulsing lighting and the neon-tube pillars and black sheen of George Glassby’s set – is a catwalk, on which co-directors Mark Leipacher and Rachel Valentine Smith present The Faction’s signature Shakespeare: trimmed down and fast-paced.
Tom Wicker, The Stage 30/08/2016

In this largely empty space, the brilliant work of lighting designers Chris Withers (Hamlet and Thebes) and Matthew Graham (The Robbers) is crucial in carving up the scenes, skilfully offering both shape and atmosphere. Light spills in from offstage, casting interesting shadows, or glows dimly from a single, dangling light bulb. In line with the morbid subject matter, gloomy visual landscapes abound.
Catherine Love, Exuent Magazine 06/02/2014

Chris Withers’ energetic lighting design adds much in its use of X-factor style moving lights as they zip from Sherwood Forest to Nottingham Castle while illuminating and dazzling the audience.
Peter Jolly, Greenwich.co.uk 05/12/2012

Lighting design and production manager Chris Withers' work greatly enhanced the quality of this production.
12/05/2011

Nevertheless, all the above is in total opposition with Chris Withers' faultless light design. Also being pinned to equipment of another show, Withers masterfully floods the stage with warming home-light, and chooses a successful balance between blackout and fade.
Richard J Thornton, Extra Extra 07/03/2011

The simplistic but symbolic use of light by Chris Withers sets off the text, adding another dimension to the story and building on the moods of Munroe, with a strangely cathartic effect on the audience as they journey with him. The only set is a desk chair and a cardboard box which means that the creation of trees, streets and rooms is left wholly to Kinsler, with Withers washing emotive colours on a screen. This technique, when done as well as it is here, makes traditional sets seems almost excessive.
Tiffany Stoneman, A Younger Theatre 28/02/2011

The soft apple jelly colours of Chris Withers’ lighting design shows this pastoral life as a muddled idyll crammed with traditions such as the bunting strewn on stage of Fly Davis’ set.
Lita Doolan, Daily Info 05/07/2010