Selected Press Clippings
A Streetcar Named Desire. Gate Theatre Dublin. July 2013.
Lee Savage's design gives an exposed view of the Kowalski's two-room apartment in 1940s New Orleans, while Paul Keogan's lighting moves through rich crimson and purple tones.
Helen Meany The Guardian Newspaper 1st September 2013
Paul Keogan’s lighting is particularly important here, eschewing naturalism for the illumination of psychological states instead.
Sara Keating Irish Times 24th July 2013
Lee Savage's design gives an exposed view of the Kowalski's two-room apartment in 1940s New Orleans, while Paul Keogan's lighting moves through rich crimson and purple tones.
Helen Meany The Guardian Newspaper 1st September 2013
Paul Keogan’s lighting is particularly important here, eschewing naturalism for the illumination of psychological states instead.
Sara Keating Irish Times 24th July 2013
Dialogues des Carmélites. Grange Park Opera. May 2013.
The lighting, by Paul Keogan, is as striking as any of the other elements if not more so, deftly conjuring different worlds through shades and subtle shifts.
http://www.bachtrack.com/review-grange-park-2013-carmelites by Paul Kilbey on 26th June 2013
Lighting wizard Paul Keogan conjured up the authentic period with elegant imaginative restraint. Stark leaning walls; slit with one entrance; a few bare seats; sudden shafts of light and dark.
Geoff Brown The Times 13th June 2013
Lit with imaginative refinement by Paul Keogan, Liz Ashcroft's plain single set worked well for the convent scenes.
George Hall Opera Magazine August 2013
The lighting, by Paul Keogan, is as striking as any of the other elements if not more so, deftly conjuring different worlds through shades and subtle shifts.
http://www.bachtrack.com/review-grange-park-2013-carmelites by Paul Kilbey on 26th June 2013
Lighting wizard Paul Keogan conjured up the authentic period with elegant imaginative restraint. Stark leaning walls; slit with one entrance; a few bare seats; sudden shafts of light and dark.
Geoff Brown The Times 13th June 2013
Lit with imaginative refinement by Paul Keogan, Liz Ashcroft's plain single set worked well for the convent scenes.
George Hall Opera Magazine August 2013
Drum Belly. Abbey Theatre. April 2013.
Paul Keogan’s lighting paints the empty space perfectly, conjuring up a grimy tenement basement one minute and a kitschy diner the next.
Jesse Weaver Irish Theatre Magazine 10th April 2013
Paul Keogan’s lighting paints the empty space perfectly, conjuring up a grimy tenement basement one minute and a kitschy diner the next.
Jesse Weaver Irish Theatre Magazine 10th April 2013
Molly Sweeney. Gate Theatre. June 2011.
The best the production can offer, then, is poetic illustration: Paul Keogan’s set, with two rear windows, follows thematic parallels, its light blue walls and white cirrus wisps suggesting a sky through cataracts
Peter Crawley Irish Times 1st July 2011.
The best the production can offer, then, is poetic illustration: Paul Keogan’s set, with two rear windows, follows thematic parallels, its light blue walls and white cirrus wisps suggesting a sky through cataracts
Peter Crawley Irish Times 1st July 2011.
Novecento. Trafalgar Studios. November 2010.
As befits a show produced under the auspices of the Donmar, and which mostly takes place in First Class, this has swanky written all over it, from Paul Wills's design to Fergus O'Hare's ghostly soundscape and Paul Keogan's evocative lighting.
Lyn Gardiner The Guardian 3rd November 2010
The contrasting spaces are further conjured by Paul Keogan’s lighting, which uses wholly unexpected colors to present the contrasting emotional temperatures. Instead of using lightning effects for the storm, he turns the space red; he suggests a filled dance-hall by coolly shifting into turquoise and purple.
David Benedict Variety 4th November 2010
As befits a show produced under the auspices of the Donmar, and which mostly takes place in First Class, this has swanky written all over it, from Paul Wills's design to Fergus O'Hare's ghostly soundscape and Paul Keogan's evocative lighting.
Lyn Gardiner The Guardian 3rd November 2010
The contrasting spaces are further conjured by Paul Keogan’s lighting, which uses wholly unexpected colors to present the contrasting emotional temperatures. Instead of using lightning effects for the storm, he turns the space red; he suggests a filled dance-hall by coolly shifting into turquoise and purple.
David Benedict Variety 4th November 2010
Boss Grady's Boys. Gaiety Theatre. September 2010
It is a memory play of sorts, something Paul Keogan’s gently impressive set realises through shifting details (a translucent house facade, a domestic space barely separated from a perimeter of grassy earth, light that lifts and dips), but it’s hardly a work of nostalgia
Irish Times 4th September 2010
It is a memory play of sorts, something Paul Keogan’s gently impressive set realises through shifting details (a translucent house facade, a domestic space barely separated from a perimeter of grassy earth, light that lifts and dips), but it’s hardly a work of nostalgia
Irish Times 4th September 2010
The Birds. Gate Theatre. September 2009.
As director, McPherson keeps us on the edge of our seat too, with piecemeal visual revelations. Even Rae Smith’s declining grand set is revealed to us inch by inch with the curtains’ slow withdrawal in the opening scene. Indeed, it is only with the gradual illumination which Paul Keogan’s lighting design lends, as the scenes progress from morning to noon to evening to night, that the true extent of the house’s damp dilapidation – the harbinger of this temporary family’s doom – is revealed. Fionnuala Ní Chiosáin original score and Simon Baker’s threatening wing-beating sound design contribute enormously to the building atmosphere.
Sara Keating Irish Times 1st October 2009
As director, McPherson keeps us on the edge of our seat too, with piecemeal visual revelations. Even Rae Smith’s declining grand set is revealed to us inch by inch with the curtains’ slow withdrawal in the opening scene. Indeed, it is only with the gradual illumination which Paul Keogan’s lighting design lends, as the scenes progress from morning to noon to evening to night, that the true extent of the house’s damp dilapidation – the harbinger of this temporary family’s doom – is revealed. Fionnuala Ní Chiosáin original score and Simon Baker’s threatening wing-beating sound design contribute enormously to the building atmosphere.
Sara Keating Irish Times 1st October 2009
Lay Me Down Softly. Peacock Theatre. November 2008.
With the Peacock stage handsomely transformed into a scuffed boxing marquee, set designer Ferdia Murphy and lighting designer Paul Keogan conspire to bathe this world in a sepia glow - a natural tone for director Wilson Milam's nostalgic production.
Peter Crawley Irish Times 21st November 2008
With the Peacock stage handsomely transformed into a scuffed boxing marquee, set designer Ferdia Murphy and lighting designer Paul Keogan conspire to bathe this world in a sepia glow - a natural tone for director Wilson Milam's nostalgic production.
Peter Crawley Irish Times 21st November 2008
The Hairy Ape. Corcadorca. June 2008.
However, it is the collaboration amounting almost to complicity between set and lighting designer Paul Keogan and director Pat Kiernan which, in the end, makes an epic of this angry play. The expanses of the warehouse and its riverside location allow, or inspire, visual effects of compelling likelihood; these are not merely attempts at verisimilitude but approaches to the truth, to the actuality which mixes marvels with misery, and compose in the end a tribute to Corcadorca's own intellectual as well as theatrical vision.
Mary Leland Irish Times 27th June 2008
However, it is the collaboration amounting almost to complicity between set and lighting designer Paul Keogan and director Pat Kiernan which, in the end, makes an epic of this angry play. The expanses of the warehouse and its riverside location allow, or inspire, visual effects of compelling likelihood; these are not merely attempts at verisimilitude but approaches to the truth, to the actuality which mixes marvels with misery, and compose in the end a tribute to Corcadorca's own intellectual as well as theatrical vision.
Mary Leland Irish Times 27th June 2008
Transformations. Wexford Opera Festival. October 2006
in tandem with Joe Vanek's never-ending costume changes and Paul Keogan's lighting, creates an imaginative, fluid wonderland.
Michael Dervan Irish Times 28th October 2006
in tandem with Joe Vanek's never-ending costume changes and Paul Keogan's lighting, creates an imaginative, fluid wonderland.
Michael Dervan Irish Times 28th October 2006
The Old Tune & Night. Watergate Theatre Kilkenny. August 2006.
Beckett conveys it all with an aloof, gently mocking tone: just as music periodically cranks up and splutters out through Pat Kiernan's production - elegantly designed by Paul Keogan and warmly performed by Bennett and Des Braiden - humanity's concerns and the fracture of memory repeat and falter like a broken record. Braiden and Bennett return for another short Pinget play, Night, in which Keogan's adventurous design and lyrical use of multimedia allows us to see Al and Ben in bed together, as though viewed from above.
Peter Crawley Irish Times 16th August 2006
Beckett conveys it all with an aloof, gently mocking tone: just as music periodically cranks up and splutters out through Pat Kiernan's production - elegantly designed by Paul Keogan and warmly performed by Bennett and Des Braiden - humanity's concerns and the fracture of memory repeat and falter like a broken record. Braiden and Bennett return for another short Pinget play, Night, in which Keogan's adventurous design and lyrical use of multimedia allows us to see Al and Ben in bed together, as though viewed from above.
Peter Crawley Irish Times 16th August 2006
Tejas Verdes. Project Arts Centre. July 2005.
Lucidly directed by Roisin McBrinn on a superbly ambivalent set by Paul Keogan
Fintan O'Toole Irish Times 9th July 2005
Lucidly directed by Roisin McBrinn on a superbly ambivalent set by Paul Keogan
Fintan O'Toole Irish Times 9th July 2005
Family Stories. Project Cube. June 2005.
Paul Keogan's typically intelligent set for the Irish premiere of Biljana Srbljanovic's mordant satire on Serbia under Slobodan Milosevic is dominated by children's drawings of violent scenes. The analogy is itself perfectly drawn. Kids who have witnessed terrible events create images that unsettle our perceptions of historical experience.
Fintan O'Toole Irish Times 25th June 2005
Paul Keogan's typically intelligent set for the Irish premiere of Biljana Srbljanovic's mordant satire on Serbia under Slobodan Milosevic is dominated by children's drawings of violent scenes. The analogy is itself perfectly drawn. Kids who have witnessed terrible events create images that unsettle our perceptions of historical experience.
Fintan O'Toole Irish Times 25th June 2005
The Sugar Wife. Project Arts Centre. April 2005.
These questions are explored with impressive suppleness in Lynne Parker's production. On Paul Keogan's ingenious set, whose combination of wood and light, of austerity and beauty, neatly captures the paradoxically gorgeous simplicity of the wealthy Quaker style, the cast moves with great confidence through the shifting contours of the characters' consciences.
Fintan O'Toole Irish Times 12th April 2005
These questions are explored with impressive suppleness in Lynne Parker's production. On Paul Keogan's ingenious set, whose combination of wood and light, of austerity and beauty, neatly captures the paradoxically gorgeous simplicity of the wealthy Quaker style, the cast moves with great confidence through the shifting contours of the characters' consciences.
Fintan O'Toole Irish Times 12th April 2005
Heavenly Bodies. Peacock Theatre. June 2004.
But Boucicault's preoccupation with exit lines and darkened theatres foreshadows the dread of his own death - a moment summoned with chilling exactitude by Paul Keogan's lighting, and punctuated with lively impertinence by the appearance of Owen Roe, resplendent in velveteen leprechaun chic, as Johnny Patterson, Boucicault's professional nemesis, who has come to take him on a final jaunt through the peaks and valleys of his astonishing career.
Belinda McKeon Irish Times 30th June 2004.
But Boucicault's preoccupation with exit lines and darkened theatres foreshadows the dread of his own death - a moment summoned with chilling exactitude by Paul Keogan's lighting, and punctuated with lively impertinence by the appearance of Owen Roe, resplendent in velveteen leprechaun chic, as Johnny Patterson, Boucicault's professional nemesis, who has come to take him on a final jaunt through the peaks and valleys of his astonishing career.
Belinda McKeon Irish Times 30th June 2004.
Chair. Operating Theatre at The Peacock Theatre. November 2001.
Paul Keogan's lighting design functions as a dynamic element in concert with the sound, vision and movement. Above all, Fouere's compelling presence roots all the apparent abstractions in a performance as dangerously electric as the chair itself.
Irish Times 9th November 2001
Paul Keogan's lighting design functions as a dynamic element in concert with the sound, vision and movement. Above all, Fouere's compelling presence roots all the apparent abstractions in a performance as dangerously electric as the chair itself.
Irish Times 9th November 2001
Gavin Friday & Maurice Seezer - Ich Liebe Dich. Tivoli Theatre. October 2001.
A formal big band, they mostly stay in their places, against Paul Keogan's jewel-coloured lighting. They reference cabaret rather than trying to be one. This is a production that knows its limitations, and within them is compelling.
Irish Times 11th October 2001
A formal big band, they mostly stay in their places, against Paul Keogan's jewel-coloured lighting. They reference cabaret rather than trying to be one. This is a production that knows its limitations, and within them is compelling.
Irish Times 11th October 2001
Over The Rainbow. Rex Levitates Dance Co. Meeting House Square. June 2001.
Monday night was one of the brightest of the year, causing problems for Rex Levitates Dance Company during Diversions Temple Bar Live on the Square. For Paul Keogan's lighting design is a major contribution to the 20-minute site-specific dance piece, performed mainly in the windows of the Gallery of Photography, and its full effect could only be experienced at the 10.30p.m. showing. The seven colours of the rainbow, which reflect the moods of the three characters through hope, fear, passion, envy and despair, are indicated as much by the wonderful lighting as by Sinead Cuthbert's changing costumes and Liz Roche's choreography.
Irish Times 28th June 2001
Monday night was one of the brightest of the year, causing problems for Rex Levitates Dance Company during Diversions Temple Bar Live on the Square. For Paul Keogan's lighting design is a major contribution to the 20-minute site-specific dance piece, performed mainly in the windows of the Gallery of Photography, and its full effect could only be experienced at the 10.30p.m. showing. The seven colours of the rainbow, which reflect the moods of the three characters through hope, fear, passion, envy and despair, are indicated as much by the wonderful lighting as by Sinead Cuthbert's changing costumes and Liz Roche's choreography.
Irish Times 28th June 2001
The Lighthouse. Opera Theatre Company. Touring Production 1998 & 2001
In Opera Theatre Company's revival of its 1998 production, the director, Brian Brady, emphasises the spookiness of the plot, which is heightened by Paul McCauley's claustrophobic set and Paul Keogan's sinister lighting effects.
Irish Times 15th February 2001
In Opera Theatre Company's revival of its 1998 production, the director, Brian Brady, emphasises the spookiness of the plot, which is heightened by Paul McCauley's claustrophobic set and Paul Keogan's sinister lighting effects.
Irish Times 15th February 2001
Eden. Abbey Theatre. January 2001.
This is not an evening for the children or the maiden aunt, but it is an impressively rewarding coup-de-theatre for those who can live with strong language and bleakly depressing situations. Paul Keogan's lighting adds much to the quality of the evening.
Irish Times 26th January 2001
This is not an evening for the children or the maiden aunt, but it is an impressively rewarding coup-de-theatre for those who can live with strong language and bleakly depressing situations. Paul Keogan's lighting adds much to the quality of the evening.
Irish Times 26th January 2001
Tartuffe. Abbey Theatre December 2000.
Kandis Cook's setting confirms that we are neither in France nor Ireland and Paul Keogan's excellent lighting does likewise.
Irish Times 22nd December 2000
Kandis Cook's setting confirms that we are neither in France nor Ireland and Paul Keogan's excellent lighting does likewise.
Irish Times 22nd December 2000
The Tempest. Abbey Theatre. December 1999.
Paul Keogan's lighting is superb, as are Joan O'Clery's motley costumes, while Conor Linehan's original music is highly atmospheric even when some of Shakespeare's words are lost in unclear singing. And towering over everything else is the wonder of Ms Frawley's setting - total theatrical magic.
Irish Times 10th December 1999
Paul Keogan's lighting is superb, as are Joan O'Clery's motley costumes, while Conor Linehan's original music is highly atmospheric even when some of Shakespeare's words are lost in unclear singing. And towering over everything else is the wonder of Ms Frawley's setting - total theatrical magic.
Irish Times 10th December 1999
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