"Christopher Nairne...

took a near empty space and created extraordinarily evocative atmospheres

with great economy, using pulsing patterns and the glow of neon to whip up affecting moods from tenderness to emotional excess."

"... lighting by Christopher Nairne...

pulsates with hedonistic excess

and then tightens its focus around the couple like a visual embrace."

"The lighting design elevates this show, and it is no wonder Nairne’s designs received an Offie nomination last year...

his designs tell the story fluently."

"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."

"Christopher Nairne’s lighting

picks out [Dan Frost’s] features almost sculpturally."

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

original, inventive and atmospheric..."

"... richly lit

by Christopher Nairne..."

"... peppered with blinding and dazzling lighting...

you’ve got a production that can only be described as ‘otherworldly’."

"... superb lighting effects and video projection

from Christopher Nairne and Dariusz Dziala..."

“... sympathetically lit by Christopher Nairne’s

atmospheric lighting design.”

“... the lighting and music’s

intimate... dynamic set-up

allows the audience to feel immersed...”

"... warmly illuminated

by Christopher Nairne’s intimate lighting."

"[The set’s] transformation from living room to pub is ingenious, and washed over by

Christopher Nairne’s melancholic lighting..."

"... each theatrical element [is] rich in calorific value.

The striking lighting design... resembles the tone and angles of a graphic novel..."

"... Christopher Nairne’s lighting is

moodily pitch-perfect..."

"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."

"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 space-savvy lighting raises

a bleak bush sunlight over Max Dorey’s set,

both perfectly formed for the Arcola’s smaller studio."

"Christopher Nairne's lighting design

dances off the rainbow walls..."

"Christopher Nairne’s

hypnotic, paranoid lighting

is particularly stunning."

"... most striking is Christopher Nairne’s spectacular lighting...

sharp bursts of colour to show Rach’s anxiety, reality-eliding strobe lights, or rippling swells like delicate sound waves."

"... pencil-thin concentric rhomboids of light... flash and flicker and glow with white and blue and red against the surrounding darkness (design, Christopher Nairne).... From the very first ‘boom’ of deep electronic vibration that beats through our ears, combined with a perfectly synchronised ripple through the ribs of light on the stage,

we are held together by this technological artistry."

"Neon arches and atmospheric lighting (Christopher Nairne)... add to the overall sense of threat and energy in this

astonishing masterpiece that haunts the mind well after the crashing chords and hallucinatory visions have subsided."

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

"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."

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

elegently lit by Christopher Nairne

is simple but striking..."

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

Chloe Kenward and Christopher Nairne added great touches to Deen's work with lighting,

subtly gracing characters with their own hints of colour.

"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."

"[The set] is complemented by Christopher Nairne’s

sympathetic lighting design that bathes the stage in a fading light..."

"The mood shifts like glass caught by changing light

(the clarity and mists of Christopher Nairne’s... lighting are very fine)."

"Christopher Nairne’s lighting design is

cheerfully reminiscent of a videogame,

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

"Christopher Nairne’s

sultry lighting saturates the stage

as saxophones sigh."

"Max Dorey’s immersive design... [is]

claustrophobic, disconcerting and often - in Christopher Nairne’s careful lighting design - pitch black."

"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..."

"... Christopher Nairne’s

magical lighting projects an ethereal shadowy moon

above illicit assignations."

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

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

"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."

"Christopher Nairne’s lighting was beautiful and

set the tone perfectly for each scene."

"[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."

"Christopher Nairne’s lighting design of blinding flashes

is perfectly complemented by Simon Slater’s... urgently textured soundscape..."

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

It is an exquisite transformation."

"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."

"... Christopher Nairne’s

peerless lighting...

[allows] lightning-fast shifts of mood and location..."

"… Christopher Nairne’s evocative lighting gives

fresh intensity to the swiftly changing scenes."