“Will Alder’s lighting beautifully contributes to the storytelling: A diminishing box of light late in the play very much suggests a curtain coming down on Boris and his reign - no spoiler considering the title”

— Theater Mania on The Brief Life and Mysterious Death of Boris III, King of Bulgaria

at 59E59 Theaters, Off Broadway, New York City - 2020, 2023 & 2024

“Cory Shipp’s design is effective and inventive, multi-levelled and with a smack of genius, all enhanced by Will Alder’s wonderful lighting design. On a technical level, this is a work that sings.”

— Oxford Daily Info on Hansel & Grettel

at The North Wall Arts Centre

“Will Alder’s lighting design is excellent, signalling shifts with precision and clarity but no fuss - just like the production itself”

— Always Time for Theatre on In Other Words UK Tour and Various - 2017, 2019, 2021 & 2023

“Will Alder’s lighting charts the party’s shifting mood, slipping casually between louche lilac and purple washes, before abruptly terminating in stark, suitably noirish chiaroscuro”

— The Stage on The Wild Party - 2017

“Praise must also go to Will Alder for his lighting. In such a small venue there is limited scope, but what he does is so effective. The white washed walls of the stage allow for the scene to be changed very cleverly: the soft lighting of home turns suddenly to the bright harshness of Iraq deserts, then into the tranquility of the therapist’s space. So good it’s easy to forget how much thought has probably gone into it”

— Everything Theatre on Gold Coast at Theatre503 - 2018

“There’s stellar work too from lighting and sound designers Will Alder and Nick Clinch, who perfectly keep pace with Sam’s mood in all its ups and downs”

— The Blog of Theatre Things on Sam. The Good Person at Bunker Theatre - 2019

“Will Alder’s lighting is neatly pointed”

— Fringe Review on The Brief Life and Mysterious Death of Boris III, King of Bulgaria

at Arcola Theatre - 2020, 2023 & 2024

“Will Alder’s lighting has an uncompromising harshness to it which leaves nowhere to escape, so too the inescapable sounds from Iida Aino”

— Ought to be Clowns on Medicine - 2018

“The sharp lighting (Will Alder) and lingering smoke combined with the natural atmosphere of The Vaults help create a primal, telling-stories-around-a-campfire vibe, with the actresses embodying male authority and innocents alike”

— Broadway World on Call Me Fury - 2019

“The set is bare, other than an old park bench, but the subtle and insistent sound design (terrific work from Iida Aino) and the perfect, nuanced lighting (credit here to Will Alder) work in tandem to provide the ideal, understated backdrop for Ms Tyler’s three-hander”

— The Spy the Stalls on Medicine - 2018

“Will Alder’s lighting masterfully frames the show, making for some striking visuals: from the bright lights and giddy excitement at the start of the party, by the end we are in near pitch black, the characters literally shadows of their earlier selves”

— Broadway World on The Wild Party - 2017