Selected Press
Kin
Gecko
'Chris Swain's extraordinary lighting steers the mood, making the prevailing darkness as thick as treacle under a heavy gold moon.
Susannah Clapp for The Observer
'In Chris Swain's beautiful lighting design groups huddle together against the storm, or sit cosily together in a golden glow. A standard lamp breaks into pieces and swings unsettlingly overhead; a single huge spotlight suggests a rescue boat at sea.'
Zoe Anderson for The Independant
'It looks remarkable: Chris Swain's lighting - much of which is hand manipulated by the cast - is out of this world, and gives the show its real identity, the sense that these people are stuck in a perpetual night, illuminated only by unfriendly glares of electric light.'
Party Season
Wardrobe Ensemble
'Chris Swain's slick lighting delivers both high energy punch and quiet emotional depth'
Hannah Bothelton for Spy in the Stalls.com
Snowed In
Anitomical
'Will Holt’s minimal set — giant Alpine postcards and a mini-ziggurat of carpeted stairs — easily evokes both indoor and outdoor settings, aided by Chris Swain’s cleverly zoned lighting.'
a little space
Gecko & Mind the Gap
'Chris Swain’s versatile lighting – from eerie grey-green washes to the moveable lightboxes representing the apartment block – serves almost as an additional character, driving the fragmentary narrative forwards.'
Catherine Love for The Guardian
We Can Time Travel
Dom Coyote
'Much of this comes from Chris Swain’s gorgeous lighting design, working together with Ruth Shepherd’s set. With large standing lamps bordering the space, and multi-coloured lightboxes nestled alongside curio packed shelves, the space feels like a capsule, sometimes cosy, sometimes isolating. From within this shelter the shifts of light that respond to the story, whether delicate or dramatic, feel all the more physical, as if the space itself is rising to join in Coyote’s song.'
