Awards

2016 Off West End Theatre Awards: Best Lighting Designer
Teddy (Southwark Playhouse)

Nominations

2018 Off West End Theatre Awards: Best Lighting Designer (nomination)
Suzy Storck (Gate Theatre)

2016 Off West End Theatre Awards: Best Lighting Designer (nomination)
Octagon (Arcola Theatre)

2015 Off West End Theatre Awards: Best Lighting Designer (nomination)
Johnny Got His Gun (Southwark Playhouse)

"[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 lighting design deserves a special mention in creating incredibly effective moods throughout and

the evocation of nightmarish Fascist propaganda was chillingly well realised."


"Christopher Nairne’s lighting and Pete Malkin’s sound are

original, inventive and atmospheric..."

– Genni Trickett, Last Minute Theatre Tickets


"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


"[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


"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


"... Christopher Nairne’s

magical lighting projects an ethereal shadowy moon

above illicit assignations."

– Sheila Cornelius, Remote Goat


"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


“... 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


"Christopher Nairne’s lighting design is

cheerfully reminiscent of a videogame,

especially when paired with Giles Thomas’ electronic sound effects."

– Fergus Morgan, Everything Theatre


"... a Tron-like cage of fluorescent strips

elegently lit by Christopher Nairne

is simple but striking..."

– Natasha Tripney, Exeunt


"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


"... beautifully lit by Christopher [Nairne],

who transforms the space from a bleak prison to an English hill to an Iraqi desert."

– Fourth Wall Magazine


"... 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


"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


"... 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


"A beam of light snaps onto an old valve radio...

It is an exquisite transformation."

– The Jewish Chronicle


"... warmly illuminated

by Christopher Nairne’s intimate lighting."

– Matt Dicks, The Stage


"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


“... a hangover-hurting sunrise blazes through the kitchen window...”

– Mark Lawson, The Guardian


"... 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


"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

peerless lighting...

[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


"Christopher Nairne’s

sultry lighting saturates the stage

as saxophones sigh."

– Tom Wicker, Time Out


"... elegantly designed and smartly lit..."

– Matt Trueman, Time Out


"... superb lighting effects and video projection

from Christopher Nairne and Dariusz Dziala..."