Nominated in 2022 Best Lighting Design of a new production of a play or musical award by Broadwayworld UK awards.
"The lighting by Chloe Kenward is effective, frequently plunging the audience into dramatic darkness, only to be rescued by a single flame from a match. It suitably conveys Cratchit’s poverty and the horrors he witnesses in the future."
"It's all emphasised by Chloe Kenward's beautiful lighting design, which plays with temperature and ties the production together with perfectly festive ambience."
“So much with monologues where one actor plays multiple roles depends on the skill of the creative team to help the actor delineate. Here, Chloe Kenward and Christopher Nairne added great touches to Deen's work with lighting, subtly gracing characters with their own hints of colour.”
“A one-woman show could easily be swallowed up by the temporary stage at Leeds Playhouse, but director Gbolahan Obisesan and Kiza Deen have worked well together to ensure they make the most of the space. Max Johns’s striking set design—a precarious-looking structure made out of interlocking chairs—provides a powerful backdrop, threatening collapse and destruction at any moment. Chloe Kenward’s subtle lighting clearly evokes the production’s changes of time and place.”
James Ballands, British Theatre Guide
"Lighting also plays an important part in this piece; lighting designer Chloe Kenward uses varying colours and depths of light and shadow to aid transitions between characters and moments in a subtle yet significant way.”
“As Chloe Kenward’s Lighting Design subtly tracks the passage of time and shifts in tone, morning becomes afternoon and lives shift on their axis without warning.”
Eliza, Always Time for Theatre
“The performance opens with a scene of scattered chairs, stacked up high along the back of the stage. The chairs catch the lights and the mood of the room seems to shift around as the audience take their seats…The ambience of the street, and what happens on her commute to and from work are all effectively portrayed through sound and lighting…When we return to the house with her the lights are not shining as brightly as they had been in the family home…The tension ramps as we hear policemen speaking to her Dad – they are finding it difficult to deliver the tragic news. The grief felt by the family is brilliantly observed and communicated to the audience.”
ONE%, Breakin Convention, Sadlers Wells
"There are striking images, as the duo launch into huge air flares – spinning while upside down, leaping from hand to hand – and then hurtle to the floor, defeated. A great shaft of diagonal light gives their conflict, and eventual reconciliation, an epic quality."