The Commission/ Cafe Kafka
Royal Opera House/ Aldeburgh Music/ Opera North
'...cool elegant stagings, designed by Joanna Parker and Matt Haskins.'
Rupert Christiansen The Telegraph
'...suddenly the mood and tone change as well as in this case, as the excellent lighting by Matt Haskins'
Mark Berry Seen & Heard International
Anna Bolena
Welsh National Opera
'The set's black box, lit only by the sickly lunar white of Matthew Haskins's artful lighting, is the darkness of Henry's VIII's court, stifling with spying, inky with intrigue.'
Hilary Finch The Times
'..chillingly lit'
Rian Evans The Guardian
Maria Stuarda
Welsh National Opera
'Matthew Haskins's lighting design makes handsome use of chiaroscuro...'
Fiona Maddocks The Observer
Roberto Devereux
Welsh National Opera
'Throughout all three operas, Matthew Haskins’ lighting was striking and evocative, without ever calling too much attention to itself. With such a very dark set, lighting was paramount and the look of the entire trilogy was a testament to three people, Talevi, Boyd and Haskins.'
Robert Hugill Opera Today
'Throughout the trilogy, the idea of the Tudor court as a tangled web of intrigue had been key to Madeleine Boyd's design concept. In this finale, it was carried through with great panache with the creation of a chariot-throne for Elizabeth I in the form of a giant metal spider. The queen commanded operations from this throne as though from the top of an armoured tank. Earlier we had glimpsed an arachnophile's tank of spiders, lit to induce shudders; the lighting designer Matthew Haskins managed such effects with élan. '
Rian Evans Opera Magazine
Turn Of The Screw
The Israeli Opera
Matthew Haskins' lighting is sharply effective, particularly his impressive shadow play.
Ury Eppstein The Jerusalem Post
Don Giovanni
Opera North
Time, place or setting is not specific; Madeleine Boyd's generic set for both acts, beautifully lit by Matthew Haskins, is decorated with portraits of figures in the 18th century costumes.
Goeffrey Mogridge Opera Britannia ****
Babur In London
The Opera Group - Sadlers Wells
This was a compelling production, with subtle lighting (Matt Haskins) and video projections (Ian William Galloway) throughout demonstrating the expressive versatility of fringe opera.
Sophie Rashbrook BachTrack
Truth & Reconciliation
The Royal Court
Designer Lisa Marie Hall miraculously makes you feel you've never been in this attic venue before - I've been going there since it opened forty years ago - and there's notably subtle lighting and sound by Matt Haskins and Gareth Fry.
Michael Coveney Whats On Stage
Dream Story
Gate Theatre
(Anna Ledwich’s) production is compelling - beautifully lit by Matt Haskins, brilliantly designed by Helen Goddard and with a subtle, insinuating sound design by Adrienne Quartly.
Giles Cole Whats On Stage ****
The play is impeccably acted by a four-strong cast. Helen Goddard’s striking design has a movable double-bed centre stage, and Matt Haskins’ atmospheric lighting renders the cast iron partition into both a bedstead and the bars of a prison, underlining how our repressed desires can hold us hostage.
Theatre World
The Years Between
Royal & Derngate
Although a common problem in productions revolved around one central location, the drawing room setting of The Years Between is far from static; set and lighting designers Helen Goddard and Matt Haskins both worked with aplomb to create and aesthetically stunning set design, combining convincingly vintage furniture with a cleverly thought out backdrop behind faux glass windows; which subtly changes colour throughout scenes to reveal the turning of the weather.
Rachael Martin The Public Reviews
Turn of the Screw
Opera North
To paraphrase a cliché, it’s rare to leave a theatre humming the lighting. But here, Matthew Haskins’ lighting designs help make this production so powerful and evocative, whether projecting grotesque, distorted shadows on the back wall of Madeleine Boyd’s claustrophobic set, or illuminating characters’ subtle facial expressions. Dawn and dusk are both beautifully realised, and when we’re finally shown a brightly lit stage at the opera's shocking close, you almost have to shield your eyes.
Graham Rickson The Arts Desk
Together with his designers Madeleine Boyd (sets and costumes) and Matthew Haskins (lighting), Talevi conjures up a weird and compelling picture of the isolated country house in which Henry James’s ghost story takes place. Bedroom, drawing room, nursery and exterior are all piled pell-mell into one expressionistically skewed tableau. Everything here is spooked with ambiguity and uncertainty. A rocking horse appears to rock unaided, shadowy figures flit past misted windows – and for once the ghosts of Quint and Miss Jessel don’t walk on and off stage so much as materialise through the gloaming. The prim, pallid Governess paranoiacally locks doors, but how does she keep the fear out of her dreams?
Rupert Christiansen Telegraph*****
How the director chooses to portray Peter Quint and Miss Jessel tends to define the production – its style, if not its enactment. South African-born Alessandro Talevi, making a bold Opera North debut, lets them haunt from the shadows. The more you strain to see them, the more they shrivel into darkness. This absorbing, disconcerting new staging, designed by Madeleine Boyd with lighting by Matthew Haskins, never relaxes its claustrophobic grasp.
Fiona Madocks Observer
Talevi fuels the suspense and the sense of the supernatural  without over-egging the special effects. The atmosphere of claustrophobia and psychological terror is brilliantly maintained, aided by Matthew Haskins' subtle lighting changes from the brightness of an idyllic uppercrust country life to a menacing atmosphere of half-light and shadows.
Geoffrey Mogridge Opera Brittania ****
Matthew Haskins’ precise and dramatic lighting finds all the dark corners of Madeleine Boyd’s stylishly skewed set.
Ron Simpson Whats on Stage****
Pelléas et Mélisande
Independent Opera
Alessandro Talevi’s staging skips the symbolist mystique – it’s all there in the words – in favour of a psychological drama, more akin to Strindberg or Ibsen than Maeterlinck. Aided by Madeleine Boyd’s ingenious three-tier set and Matthew Haskins’ subtle lighting, he homes in on the personal relationships… Pelléas emerges as very modern and very scary.
Andrew Clark Financial Times
Marriage of Figaro
English Touring Opera
The late eighteenth-century Spanish colonial setting is wonderfully evoked through masterful lighting: early-morning sun streams through the slats in the vast Mediterranean-style blinds that adorn the windows in the Count’s home; the orange-hued arid late-afternoon turns the packed hall at Figaro and Susanna’s wedding party into a sauna – a vivid sense compounded by the cast taking off jackets and frantically fanning themselves. Strikingly, we first see the Countess in silhouette against an emerald blue sky, standing on the balcony outside her bedroom; the exquisite ‘forgiveness’ ensemble at the end of the opera takes places, with great poignancy, as dawn slowly breaks. The combined effect of high emotion, sublime singing and breathtaking sun-rise is deeply moving.
Arnold Jarvist Classical Source