"Christopher Nairne’s lighting design
pins Joe like a moth with cold, clinical beams
or bathes him in the golden glow of the past as he takes refuge in memory."
– Sam Marlowe, The Times
"... Christopher Nairne’s
[allows] lightning-fast shifts of mood and location..."
– Ian Foster, The Public Reviews
"… Christopher Nairne’s evocative lighting gives
fresh intensity to the swiftly changing scenes."
– Jane Martin, Whatsonstage
"... richly lit
by Christopher Nairne..."
– Natasha Tripney, The Stage
"... peppered with blinding and dazzling lighting...
you’ve got a production that can only be described as ‘otherworldly’."
– James Waygood, Grumpy Gay Critic
“... sypathetically lit by Christopher Nairne’s
atmospheric lighting design.”
– Paul Vale, The Stage
“... the lighting and music’s
intimate... dynamic set-up
allows the audience to feel immersed...”
– Elmira Tanatarova, Camden New Journal
"[Delicate and powerful choreographed routines] inhabit set designer Max Dorey and lighting designer Christopher Nairne’s
lightbulb-strung, bombsite wonderland of a set
to create a slick kind of night-time magic."
– Alice Saville, Exeunt
"A beam of light snaps onto an old valve radio...
It is an exquisite transformation."
– The Jewish Chronicle
sultry lighting saturates the stage
as saxophones sigh."
– Tom Wicker, Time Out
"The production exudes a sepia toned 50s aesthetic,
from the rusted illuminated ‘T’ which greets audiences in the bar, to the warm glow of the string lights which adorn the auditorium,
and dually allude to the makeshift aplomb of Ted culture, as well as the austerity of its post-war roots. A clever detail from lighting designer Christopher Nairne."
– Charlotte O’Growney, Talk Stagey to Me
"Christopher Nairne’s lighting was beautiful and
set the tone perfectly for each scene."
– Charlotte Hurford, The Spy in the Stalls
"Christopher Nairne’s lighting design deserves a special mention in creating incredibly effective moods throughout and
the evocation of nightmarish Fascist propaganda was chillingly well realised."
"The mood shifts like glass caught by changing light
(the clarity and mists of Christopher Nairne’s... lighting are very fine)."
– Susannah Clapp, The Observer
"... each theatrical element [is] rich in calorific value.
The striking lighting design... resembles the tone and angles of a graphic novel..."
– Pauline Flannery, Stage Won
"... elegantly designed and smartly lit..."
– Matt Trueman, Time Out
"Christopher Nairne’s lighting design of blinding flashes
is perfectly complemented by Simon Slater’s... urgently textured soundscape..."
– Ian Foster, There Ought to be Clowns
"... warmly illuminated
by Christopher Nairne’s intimate lighting."
– Matt Dicks, The Stage
"[The set’s] transformation from living room to pub is ingenious, and washed over by
Christopher Nairne’s melancholic lighting..."
– Stewart Pringle, Exeunt
"Christopher Nairne’s accomplished lighting design is a key element in Elks’ atmostpheric, engrossing production,
subtly transforming the squalid studio into a place of magic and memory."
– Alun Hood, Whatsonstage
"Christopher Nairne’s lighting
picks out [Dan Frost’s] features almost sculpturally."
– Tom Wicker, The Stage
"The cloister's pillars are clothed in crumpled silver brimming with fairy lights, part of
an ambitious and nimbly effective lighting design by Christopher Nairne
which mixes electric light with candles to play with both the texture and colour of different kinds of light."
– Charlotte Valori, Bachtrack
"Christopher Nairne’s lighting design is
cheerfully reminiscent of a videogame,
especially when paired with Giles Thomas’ electronic sound effects."
– Fergus Morgan, Everything Theatre
"... superb lighting effects and video projection
from Christopher Nairne and Dariusz Dziala..."
"... Christopher Nairne’s space-savvy lighting raises
a bleak bush sunlight over Max Dorey’s set,
both perfectly formed for the Arcola’s smaller studio."
– Kate Maltby, The Times
"Max Dorey’s immersive design... [is]
claustrophobic, disconcerting and often - in Christopher Nairne’s careful lighting design - pitch black."
– Matt Trueman, Whatsonstage
"Add to this Christopher Nairne’s fantastic lighting, playing with complete darkness, low lighting, and small light sources such as phone screens and candles, Cargo is
a dangerous and dark creation with a stifling aesthetic and atmosphere..."
– James Waygood, Grumpy Gay Critic
“... a hangover-hurting sunrise blazes through the kitchen window...”
– Mark Lawson, The Guardian
"... beautifully lit by Christopher [Nairne],
who transforms the space from a bleak prison to an English hill to an Iraqi desert."
– Fourth Wall Magazine
"... Christopher Nairne’s
magical lighting projects an ethereal shadowy moon
above illicit assignations."
– Sheila Cornelius, Remote Goat
"Christopher Nairne’s lighting and Pete Malkin’s sound are
original, inventive and atmospheric..."
– Genni Trickett, Last Minute Theatre Tickets
"Lighting designer Christopher Nairne has... harnessed this cavernous space to create an atmosphere which marries beautifully with [Ben] Ellis’ words and [John] Kachoyan’s direction. This is a huge space to light and
with a show that is so epic... it is impressive that Nairne has managed to pull off such intimate moments so successfully."
– Skye Crawford, Fringe Review
"... a Tron-like cage of fluorescent strips
elegently lit by Christopher Nairne
is simple but striking..."
– Natasha Tripney, Exeunt
"For much of the production, Guy Jones’ direction and Cécile Trémolières’ set is unassuming and restrained (the same goes for Christopher Nairne’s intelligent lighting). But every once in a while, all these subtle theatrical flourishes - these small but significant human touches - pull together and create something big...
the lighting begins to play with our senses...
little lights glimmer and dance through the trees."
– Miriam Gillinson, Exeunt
"[The set] is complemented by Christopher Nairne’s
sympathetic lighting design that bathes the stage in a fading light..."
– Amy Yorston, British Theatre Guide