Press

“In a dazzling scene, the massed ranks of the British Medical  Association, like the gods on Mount Olympus, face him down and he, like Tony Blair fifty years later negotiating the Good Friday Agreement, buries his considerable ego to concede and concede and concede - but also to win. Jon Driscoll’s video work is as good as I’ve seen in a theatre, a tour de force.”

– Nye, NT, Gary Naylor, Broadway World

“As rumbling double basses commence Górecki’s long, ascending crescendo, the charcoal-grey walls appear to melt and flow. Roberto Vitalini’s mesmeric video design and Jon Driscoll’s haunting lighting are major elements in the production’s success, as is Bywater’s set.”

– Symphony of Sorrowful Songs, ENO, Clive Paget, The Gaurdian

“Rufus Norris’s immaculate direction, Jon Driscoll’s astounding screen projections and Katrina Lindsay’s breathtaking set are again central to its success, alongside a superb new cast.”

– Small Island, NT, Arifa Akbar, The Gaurdian

“Bob Crowley’s cornucopian feast of designs, packed with detail and wit, are complemented by Jon Driscoll and Gemma Carrington’s ingenious projection designs, which take us plunging down the vortex of the rabbit hole, sharing Alice’s bewilderment at the shifts in scale of banks of hallucinatory doors, then relaxing into a delightful pastoral scene of bouncing bunnies, trotting piglets and fluttering exotic birds, all animated in silhouette.”

– Alice’s Adventures in Wonderland, Royal Ballet, David Dougill, The Times

“Widescreen filmic effects – a train snaking along vanishing-point rails under a starlit sky – are brilliantly achieved by mergers of Robert Jones’s set and Jon Driscoll’s projections.”

– Mack and Mabel, Chichester, Clare Brennan, The Gaurdian

“This immersion continues with the show proper, which ingeniously incorporates old-style film images and projections into which the characters pop in and out. The overall effect is visually dazzling, but the neatest trick is that the technological gimmickry never overwhelms the simple emotionality of the tale.”

Brief Encounter, Studio 54, The Hollywood Reporter

“The production’s most remarkable features were the arresting video projections of British cinematographer Jon Driscoll, whose black and white “motion pictures” of the nitty-gritty of bullfighting spanned the entire width of the Santa Fe Opera stage.

The projections also provide the opportunity for the visualization of such plot elements as Micaela’s bedside observation of the failing health of Don Jose’s mother, who desperately wishes to see her son one final time, and for such images as the procession of the bullfighters in the final scene.”

Carmen, Santa Fe, William Burnett, Opera Warhorses