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


2019 BroadwayWorld UK Awards: Best Lighting Design of a New Production of a Play or Musical (nomination)
Preludes (Southwark Playhouse)

2020 Offie Awards: Best Lighting Designer (finalist)
Preludes (Southwark Playhouse)

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)

"Christopher Nairne’s

hypnotic, paranoid lighting

is particularly stunning."

– Tim Bano, The Stage

"... 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."

– Marianka Swain, The Arts Desk

"... 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."

– Julian Eaves, British Theatre

"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."

– David Guest, The Reviews Hub

"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

"... superb lighting effects and video projection

from Christopher Nairne and Dariusz Dziala..."
"Christopher Nairne’s lighting design is

cheerfully reminiscent of a videogame,

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

– Fergus Morgan, Everything Theatre

"... Christopher Nairne’s lighting is

moodily pitch-perfect..."

– Ian Foster, There Ought to be Clowns

"... 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

"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

"... 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

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

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

– Fourth Wall Magazine

"[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

"... Christopher Nairne’s

magical lighting projects an ethereal shadowy moon

above illicit assignations."

– Sheila Cornelius, Remote Goat

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

It is an exquisite transformation."

– The Jewish Chronicle

"... 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

"... 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

"Christopher Nairne's lighting design

dances off the rainbow walls..."

– Fiona Scott, Broadway World

"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

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

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

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

– Mark Lawson, The Guardian

“... sympathetically 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 and Pete Malkin’s sound are

original, inventive and atmospheric..."

– Genni Trickett, Last Minute Theatre Tickets

"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

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

– Matt Trueman, Time Out

"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

"Christopher Nairne’s

sultry lighting saturates the stage

as saxophones sigh."

– Tom Wicker, Time Out

"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

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

subtly gracing characters with their own hints of colour.

– James Willstrop, Whatsonstage

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

elegently lit by Christopher Nairne

is simple but striking..."

– Natasha Tripney, Exeunt

Tom Fool (Orange Tree Theatre)
"Lighting designer Christopher Nairne effectively picks out moments that need attention, occasionally focusing on the depressed inertia of a character

- not easy in so small a space -

before returning to the brightly lit drama of a family in clear view."

– Sara West, Everything Theatre

"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