split second timing is extended to lighting too as we rapidly switch between scenes in a submarine and a nightclub, via a smart lighting set by Sherry Coenen.
Unrestricted Theatre 08/06/2019

Towards the end of the first half, Sherry L Coenen’s brilliantly versatile lighting design is as quick as the cast’s wit, leaping between a London nightclub and a submarine in the Atlantic Ocean.
Kate Wyver, The Guardian 27/05/2019

Special mention must go to Sherry Coenen's lighting design, running in tandem with Dan Balfour's sound to create a sense of scale that extends way beyond the New Diorama's walls.
Alex Wood, What's On Stage 20/05/2019

The set (Helen Coyston) and lighting design (Sherry Coenen) create illusions of a much grander space, illustrated with particular prowess during a hectic split-scene between a big, bawdy cabaret song and dance, and a dark and echoing submarine under threat of attack. With such a small audience and such a big production, it feels like everyone has the best seats in a much bigger theatre.
Miriam Sallon, The Spy in the Stalls 18/05/2019

Sherry Coenen’s lighting design is top-notch and effective. Using traditional spot focus to great effect for one of the most moving numbers, she shows her range and imagination by also delivering immersive thrills of submerging submarines or raving Nazis in a barnstorming second act opener that needs to be seen.
Mary Beer, London Theatre 1 18/05/2019