Photograph from Six Characters in Search of an Author - lighting design by Malcolm Rippeth
Freya Parker as the Girl | Photographer: Manuel Harlan | From the show Six Characters in Search of an Author
Photograph from Six Characters in Search of an Author - lighting design by Malcolm Rippeth
Freya Parker | Photographer: Manuel Harlan | From the show Six Characters in Search of an Author
Photograph from Kaput! - lighting design by Malcolm Rippeth
Photographer: Keith Pattison | From the show Kaput!
Photograph from The Flying Lovers of Vitebsk - lighting design by Malcolm Rippeth
Marc Antolin and Audrey Brisson as Marc and Bella Chagall | Photographer: Steve Tanner | From the show The Flying Lovers of Vitebsk
Photograph from Decade - lighting design by Malcolm Rippeth
Tobias Menzies, Amy Lennox and Cat Simmons | Photographer: Tristram Kenton | From the show Decade
Malcolm Rippeth's picture

Malcolm Rippeth

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Biography

Malcolm's work in theatre, opera and dance can be seen throughout the UK and worldwide.

His 2024 schedule includes Carmen (Glyndebourne); Der Rosenkavalier (Santa Fe Opera); Die Schöpfung (Oper Köln); Der Kleine Prinz (Musik Theater an der Wien); Madame Butterfly (Royal Danish Opera); Blue Beard (Wise Children UK tour); The Merry Wives of Windsor (Royal Shakespeare Company); Platée and Le nozze di Figaro (Garsington Opera); and Snow White (balletLORENT).

A full credits list is available by following the link above.

He was awarded the WhatsOnStage Award for Best Lighting Designer for his work on Brief Encounter and Six Characters in Search of an Author in the West End and a Village Voice OBIE as a member of the design team for Brief Encounter at St. Ann's Warehouse, New York. He was nominated for an Outer Critics Circle Award for Brief Encounter on Broadway; for a 2016 Los Angeles Drama Critics Circle Award for Tristan and Yseult; for the 2017 New York Drama Desk Award for Outstanding Lighting Design of a Musical for 946: The Amazing Story of Adolphus Tips; in 2018 for an OFFIE for Songs for Nobodies at Wilton's Music Hall and a Knight of Illumination Award for Falstaff at Garsington Opera; in 2019 for a Knight of Illumination Award for The Turn of the Screw at Garsington; and in 2021 was a finalist in the OFFIES for Afterplay at the Coronet.

From 2016 to 2017 he was responsible for the design of the temporary lighting installation at Shakespeare's Globe in London, and lit many shows both there and in their indoor Sam Wanamaker Playhouse including A Midsummer Night's Dream, Twelfth Night, Boudica, The Secret Theatre and Romantics Anonymous.

He collaborated with Kneehigh Theatre for twenty years, and was an Associate Artist of the company. Designs include Brief Encounter (West End and Broadway); Wah! Wah! Girls and The Umbrellas of Cherbourg (West End); The Flying Lovers of Vitebsk, Tristan and Yseult, 946: The Amazing Story of Adolphus Tips, The Wild Bride, The Red Shoes (all UK, USA); ​Dead Dog in a Suitcase (and other love songs) (Korea, New Zealand, Colombia, Shanghai); The Tin Drum, Nights at the Circus, Don John, FUP and Cymbeline.

Other recent theatre work includes ​My Brilliant Friend (National Theatre Olivier); Bagdad Cafe (The Old Vic); Songs for Nobodies (West End/Sydney Opera House); The MIrror Crack'd (NCPA Mumbai); Captain Corelli's Mandolin (West End); Wise Children (Old Vic & UK tour); Titus Andronicus, The Empress (Royal Shakespeare Company); The Gretchen Question (Fuel); Hamlet (Bristol Old Vic); Betty! A sort of Musical (Manchester Royal Exchange); Future Cargo (Requardt and Rosenberg); SOLAR - Klangwolke 2019 (Donaupark Linz); ​The Seven Pomegranate Seeds, Good Canary (Rose Theatre Kingston); Afterplay (Coronet Theatre); The Boy in the Striped Pyjamas (Chichester Festival Theatre/Children's Touring Partnership); Decade, Spring Awakening, Six Characters in Search of an Author (Headlong); Only the Brave (Wales Millennium Centre); Moon Tiger (Theatre Royal Bath); The Threepenny Opera (Graeae); God of Chaos (Drum Theatre Plymouth); Ours Was the Fen Country (Still House); The Promise (Donmar at Trafalgar Studios); London (Paines Plough); Belong, The Acid Test, Spur of the Moment and Kin (Royal Court); His Dark Materials (Birmingham Rep); HMS Pinafore (Guthrie Theater Minneapolis); The Pitchfork Disney (Arcola); A Very Old Man with Enormous Wings (Little Angel Theatre); Stones in His Pockets (Tricycle Theatre); Calendar Girls (West End, Australia and Canada); The Field (Olympia Theatre Dublin); Little Women (Gate Theatre Dublin); The Dead (Abbey Theatre Dublin); Richard III (Northern Broadsides); The Devil Inside Him (National Theatre Wales); Tutti Frutti (National Theatre of Scotland); After Dark (balletLORENT).

Opera credits include The Wreckers (Glyndebourne); Rusalka, Alcina, Capriccio (Santa Fe); Orpheus in the Underworld (English National Opera); Madama Butterfly (Oper Graz); Hercules (Badisches Staatstheater Karlsruhe); Werther (Opéra de Marseille); Stiffelio (Opéra national du Rhin); Breaking the Waves (Theater St. Gallen); Mitridate Re di PontoRusalka, Der Rosenkavalier, Eugene Onegin, The Turn of the Screw, Don Giovanni, Falstaff, The Skating Rink, Pelléas et Mélisande, Idomeneo, Der Stein der Weisen, Armida, Le nozze di Figaro (Garsington); Ivan the Terrible (Grange Park Opera); War and Peace, In Parenthesis, The Seven Deadly Sins (Welsh National Opera); Who put Bella in the Wych Elm? (Almeida Aldeburgh Opera); Giovanna d'Arco, Lucia di Lammermoor, Orfeo ed Euridice, The Jacobin (Buxton Festival); Le Premier Meurtre (Le Balcon at Opéra de Lille​); Pleasure, The Coronation of Poppea (Opera North); La Belle Hélène (Opéra national de Lorraine​).

He is a member of the Association of Lighting Designers and Equity in the UK and of United Scenic Artists Local 829 IATSE in the US and Canada.

He lives in London.

Previous productions

Forthcoming productions

Show name Type Venue/Company Role Creative team Opens
Die Walküre Opera Santa Fe Opera Lighting Designer Director: Melly Still
Set designer: Leslie Travers
26 Jul 2025
The Turn of the Screw Opera Santa Fe Opera Lighting Designer Director: Louisa Muller
Set designer: Christopher Oram
19 Jul 2025
Salome Opera Teatro Massimo, Palermo Lighting Designer Director: Bruno Ravella
Set designer: Leslie Travers
20 May 2025
Peter Grimes Opera Wales Millennium Centre, then touring
Welsh National Opera
Lighting Designer Director: Melly Still
Set designer: Chiara Stephenson
05 Apr 2025
North by Northwest Theatre York Theatre Royal, then touring
Wise Children
Lighting Designer Director: Emma Rice
Set designer: Rob Howell
18 Mar 2025
Der Kleine Prinz Opera Musik Theater an der Wien Lighting Designer Director: Louisa Muller
Set designer: Madeleine Boyd
13 Dec 2024

Current credits

Show name Type Venue/Company Role Creative team Closes
The Little Match Girl and Happier Tales Theatre The Lucky Chance, Frome
Wise Children
Lighting Designer Director: Emma Rice
23 Dec 2023, 21 Dec 2024
1923 Müzikali Musical Zorlu Centre, Istanbul Lighting Designer Director: Mehmet Ergen & Lerzan Pamir
Set designer: Robert Innes Hopkins
23 Apr 2025
Snow White Dance Northern Stage, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Set designer: Phil Eddolls
17 May 2025
Snow White: The Sacrifice Dance Northern Stage, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Set designer: Phil Eddolls
17 May 2025

Previous productions

Show name Type Venue/Company Role Creative Team Opened
Die Schöpfung Opera Oper Köln Lighting Designer Director: Melly Still
Set designer: Merle Hensel
Oct 2024
Der Rosenkavalier Opera Santa Fe Opera Lighting Designer Director: Bruno Ravella
Set designer: Gary McCann
Jul 2024
The Merry Wives of Windsor Theatre Royal Shakespeare Theatre
Royal Shakespeare Company
Lighting Designer Director: Blanche Macintyre
Set designer: Robert Innes Hopkins
Jun 2024
Le nozze di Figaro Opera Garsington Opera Lighting Designer Director: John Cox
Set designer: Robert Perdziola
May 2024
Platée Opera Garsington Opera Lighting Designer Director: Louisa Muller
Set designer: Christopher Oram
May 2024
Carmen Opera Glyndebourne Lighting Designer Director: Diane Paulus
Set designer: Riccardo Hernandez
May 2024
Madama Butterfly Opera Royal Danish Opera, Copenhagen Lighting Designer Director: Floris Visser
Set designer: Gideon Davey
Feb 2024
Future Cargo Dance The Garden of Earthly Delights, Adelaide, then touring
Requardt and Rosenberg
Lighting Designer Set designer: Hannah Clark Feb 2024
Blue Beard Theatre Theatre Royal Bath, then touring
Wise Children
Lighting Designer Director: Emma Rice
Set designer: Vicki Mortimer
Feb 2024
The Little Match Girl and Happier Tales Theatre The Lucky Chance, Frome
Wise Children
Lighting Designer Director: Emma Rice
Dec 2023, Nov 2024
The Velveteen Rabbit Dance John Marley Centre, Newcastle-upon-Tyne, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Set designer: Nasir Mazhar
Nov 2023
Sputnik Sweetheart Theatre Arcola Theatre Lighting Designer Director: Melly Still
Set designer: Shizuka Hariu
Oct 2023
Rusalka Opera Santa Fe Opera Lighting Designer Director: David Pountney
Set designer: Leslie Travers
Jul 2023
Ariadne Auf Naxos Opera Garsington Opera Lighting Designer Director: Bruno Ravella
Set designer: Giles Cadle
Jun 2023
Mitridate, re di Ponto Opera Garsington Opera Lighting Designer Director: Tim Albery
Set designer: Hannah Clark
Jun 2023
Le nozze di Figaro Opera Aalto-Musiktheater, Essen Lighting Designer Director: Floris Visser
Set designer: Gideon Davey
May 2023
Der Rosenkavalier Opera Bord Gáis Energy Theatre
Irish National Opera
Lighting Designer Director: Bruno Ravella
Set designer: Gary McCann
Mar 2023
Hercules Opera Badisches Staatstheater Karlsruhe Lighting Designer Director: Floris Visser
Set designer: Gideon Davey
Feb 2022, Feb 2023
The Becoming Dance Boiler Shop, Newcastle-upon-Tyne, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Jan 2023
Betty! A sort of Musical Musical Royal Exchange Manchester Lighting Designer Director: Sarah Frankcom
Set designer: James Cotterill
Dec 2022
Stiffelio Opera Opéra de Dijon Lighting Designer Director: Bruno Ravella
Set designer: Hannah Clark
Nov 2022
Madama Butterfly Opera Oper Graz Lighting Designer Director: Floris Visser
Set designer: Gideon Davey
Oct 2022
Hamlet Theatre Bristol Old Vic Lighting Designer Director: John Haidar
Set designer: Alex Eales
Oct 2022
Rapunzel After Dark Dance Northern Stage, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Set designer: Phil Eddols
Sep 2022
Rapunzel Dance Northern Stage, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Set designer: Phil Eddols
Sep 2022
The Gretchen Question Theatre Master Shipwrights House
Fuel
Lighting Designer Director: Melly Still
Set designer: E.M.Parry
Sep 2022
The Turn of the Screw Opera Garsington Opera Lighting Designer Director: Louisa Muller
Set designer: Christopher Oram
Jul 2022
Rusalka Opera Garsington Opera & Edinburgh Festival Theatre
Garsington Opera
Lighting Designer Director: Jack Furness
Set designer: Tom Piper
Jun 2022
The Wreckers Opera Glyndebourne Lighting Designer Director: Melly Still
Set designer: Ana Inés Jabares-Pita
May 2022
Werther Opera Opéra de Marseille Lighting Designer Director: Bruno Ravella
Set designer: Leslie Travers
Mar 2022
Hercules Opera Badisches Staatstheater Karlsruhe Lighting Designer Director: Floris Visser
Set designer: Gideon Davey
Feb 2022, Feb 2023
Syllable Opera Laban Theatre Lighting Designer Director: Joseph Alford
Set designer: Molly Einchcomb
Jan 2022
The Christmas Goblin Theatre The Marlowe Theatre Studio Lighting Designer Director: Laura Keefe
Set designer: Zoe Hurwitz
Dec 2021
Measure for Measure Theatre Sam Wanamaker Playhouse
Shakespeare's Globe
Lighting Designer Director: Blanche McIntyre
Set designer: James Cotterill
Nov 2021
The Seven Pomegranate Seeds Theatre Rose Theatre Kingston Lighting Designer Director: Melly Still
Set designer: Melly Still
Nov 2021
Stiffelio Opera Opéra national du Rhin Lighting Designer Director: Bruno Ravella
Set designer: Hannah Clark
Oct 2021
Breaking the Waves Opera Theater St. Gallen Lighting Designer Director: Melly Still
Set designer: Ana Inés Jabares-Pita
Sep 2021
Bagdad Café Theatre The Old Vic
Wise Children
Lighting Designer Director: Emma Rice
Set designer: Lez Brotherston
Jul 2021
Ivan The Terrible Opera Grange Park Opera Lighting Designer Director: David Pountney
Set designer: Francis O'Connor
Jun 2021
Eugene Onegin Opera Garsington Opera Lighting Designer Director: Michael Boyd
Set designer: Tom Piper
Jun 2021
Der Rosenkavalier Opera Garsington Opera Lighting Designer Director: Bruno Ravella
Set designer: Gary McCann
Jun 2021
Future Cargo Dance Norfolk & Norwich Festival, then touring
Requardt and Rosenberg
Lighting Designer Set designer: Hannah Clark May 2021
Hercules (postponed) Opera Baadisches Staatstheater Karlsruhe Lighting Designer Director: Floris Visser
Set designer: Gideon Davey
Feb 2021
The Flying Lovers of Vitebsk (live stream) Theatre Bristol Old Vic
Wise Children, Kneehigh and Bristol Old Vic
Lighting Designer Director: Emma Rice
Set designer: Sophia Clist
Dec 2020
Madama Butterfly Opera Oper Graz Lighting Designer Director: Floris Visser
Set designer: Gideon Davey
Nov 2020
Romantics Anonymous (live stream) Musical Bristol Old Vic
Wise Children
Lighting Designer Director: Emma Rice
Set designer: Lez Brotherston
Sep 2020
Fidelio (postponed) Opera Garsington Opera Lighting Designer Director: John Cox
Set designer: Gary McCann
Jun 2020
Rusalka (postponed) Opera Garsington Opera, then touring Lighting Designer Director: Michael Boyd
Set designer: Tom Piper
Jun 2020
Mitridate, re di Ponto (postponed) Opera Garsington Opera Lighting Designer Director: Tim Albery
Set designer: Hannah Clark
May 2020
Malory Towers (postponed) Musical Theatre By the Lake, then touring
Wise Children
Lighting Designer Director: Emma Rice
Set designer: Lez Brotherston
Mar 2020
Afterplay Theatre The Coronet Theatre Lighting Designer Director: John Haidar
Set designer: Lucy Osborne
Mar 2020
The Mirror Crack’d Theatre National Centre for the Performing Arts, Mumbai Lighting Designer Director: Melly Still
Set designer: Richard Kent
Jan 2020
Romantics Anonymous Musical Bristol Old Vic, Wallis Annenberg Center Beverly Hills, then touring Lighting Designer Director: Emma Rice
Set designer: Lez Brotherston
Jan 2020
Songs for Nobodies Musical Geelong PAC, Melbourne Arts Centre & Sydney Opera House Lighting Designer Director: Simon Phillips
Set designer: Justin Nardella
Dec 2019
My Brilliant Friend Theatre National Theatre - Olivier Lighting Designer Director: Melly Still
Set designer: Soutra Gilmour
Nov 2019
The Lost Happy Endings Dance Northern Stage, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Set designer: Neil Murray
Oct 2019
Orpheus in the Underworld Opera London Coliseum
English National Opera
Lighting Designer Director: Emma Rice
Set designer: Lizzie Clachan
Oct 2019
Klangwolke 2019 - SOLAR Theatre Donaupark Linz
Linz AG
Lighting Designer Director: David Pountney
Set designer: Robert Innes Hopkins
Sep 2019
Malory Towers Theatre The Passenger Shed, Bristol, then touring
Wise Children
Lighting Designer Director: Emma Rice
Set designer: Lez Brotherston
Jul 2019
Captain Corelli's Mandolin Theatre Harold Pinter Theatre Lighting Designer Director: Melly Still
Set designer: Mayou Trikerioti
Jul 2019
The Turn of the Screw Opera Garsington Opera Lighting Designer Director: Louisa Muller
Set designer: Christopher Oram
Jul 2019
Don Giovanni Opera Garsington Opera Lighting Designer Director: Michael Boyd
Set designer: Tom Piper
May 2019
Dead Dog in a Suitcase (and other love songs) Theatre Nuffield Southampton City, then touring
Kneehigh
Lighting Designer Director: Mike Shepherd
Set designer: Michael Vale
May 2019
Captain Corelli's Mandolin Theatre Curve Theatre Leicester, then touring
Neil Laidlaw Productions, Rose Theatre Kingston & Birmingham Rep
Lighting Designer Director: Melly Still
Set designer: Mayou Trikerioti
Apr 2019
God of Chaos Theatre The Drum
Theatre Royal Plymouth
Lighting Designer Director: David Mercatali
Set designer: Grace Smart
Mar 2019
The Mirror Crack’d Theatre Salisbury Playhouse, then touring
Wales Millennium Centre & Wiltshire Creative
Lighting Designer Director: Melly Still
Set designer: Richard Kent
Feb 2019
Songs for Nobodies Musical Ambassadors Theatre London Lighting Designer Director: Simon Phillips
Set designer: Justin Nardella
Jan 2019
La Belle Hélène Opera Opéra national de Lorraine Lighting Designer Director: Bruno Ravella
Set designer: Giles Cadle
Dec 2018
After Dark Dance Northern Stage, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Nov 2018
Wise Children Theatre Old Vic Theatre, then touring
Wise Children
Lighting Designer Director: Emma Rice
Set designer: Vicki Mortimer
Oct 2018
War and Peace Opera Wales Millennium Centre, then touring
Welsh National Opera
Lighting Designer Director: David Pountney
Set designer: Robert Innes Hopkins
Sep 2018
FUP Theatre Kneehigh Asylum, then touring
Kneehigh
Lighting Designer Director: Simon Harvey
Set designer: Rosanna Vize
Sep 2018
Black Cat: Bohemia Theatre Spiegeltent, Southbank Centre
The Black Cat Cabaret
Lighting Designer Director: Sean Kempton
Aug 2018
Sweet Charity Musical Watermill Theatre Newbury Lighting Designer Director: Paul Hart
Set designer: Diego Pitarch
Jul 2018
The Skating Rink Opera Garsington Opera Lighting Designer Director: Stewart Laing
Set designer: Stewart Laing
Jul 2018
Falstaff Opera Garsington Opera Lighting Designer Director: Bruno Ravella
Set designer: Giles Cadle
Jun 2018
Capriccio Opera Garsington Opera Lighting Designer Director: Tim Albery
Set designer: Tobias Hoheisel
Jun 2018
Songs for Nobodies Musical Wilton's Music Hall Lighting Designer Director: Simon Phillips
Set designer: Justin Nardella
Mar 2018
Brief Encounter Theatre Empire Cinema Haymarket, London
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Neil Murray
Mar 2018
Brief Encounter Theatre Birmingham Rep & The Lowry
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Neil Murray
Feb 2018
Das Rheingold Opera Royal Festival Hall
London Philharmonic Orchestra
Lighting Designer Director: Ted Huffman
Jan 2018
The Flying Lovers of Vitebsk Theatre Wilton's Music Hall, The Wallis Beverly Hills, then touring
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Sophia Clist
Jan 2018
Apocalypse Meow Theatre Sam Wanamaker Playhouse Lighting Designer Director: Meow Meow
Dec 2017
Titus Andronicus Theatre Barbican Centre
Royal Shakespeare Company
Lighting Designer Director: Blanche McIntyre
Set designer: Robert Innes Hopkins
Dec 2017
The Little Matchgirl and Other Happier Tales Theatre Bristol Old Vic, then touring
Bristol Old Vic & Shakespeare's Globe
Lighting Designer Director: Emma Rice
Set designer: Vicki Mortimer
Nov 2017
The Secret Theatre Theatre Sam Wanamaker Playhouse Lighting Designer Director: Matthew Dunster
Set designer: Jon Bausor
Nov 2017
Rumpelstiltskin Dance Northern Stage, then touring
balletLORENT & Sadler's Wells
Lighting Designer Choreographer: Liv Lorent
Set designer: Phil Eddolls
Oct 2017
Romantics Anonymous Musical Sam Wanamaker Playhouse
Shakespeare's Globe
Lighting Designer Director: Emma Rice
Set designer: Lez Brotherston
Oct 2017
The Tin Drum Theatre Liverpool Everyman, then touring
Kneehigh, Liverpool Everyman and West Yorkshire Playhouse
Lighting Designer Director: Mike Shepherd
Set designer: Naomi Dawson
Sep 2017
Boudica Theatre Shakespeare's Globe Lighting Designer Director: Eleanor Rhode
Set designer: Tom Piper
Sep 2017
Alcina Opera Santa Fe Opera Lighting Designer Director: David Alden
Set designer: Gideon Davey
Jul 2017
Titus Andronicus Theatre Royal Shakespeare Theatre
RSC
Lighting Designer Director: Blanche McIntyre
Set designer: Robert Innes Hopkins
Jun 2017
Pelléas et Mélisande Opera Garsington Opera Lighting Designer Director: Michael Boyd
Set designer: Tom Piper
Jun 2017
Twelfth Night Theatre Shakespeare's Globe Lighting Designer Director: Emma Rice
Set designer: Lez Brotherston
May 2017
Tristan and Yseult Theatre Brighton Festival, then touring
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Bill Mitchell
May 2017
Richard III Theatre Hull Truck Theatre, then touring
Northern Broadsides & Hull 2017 UK City of Culture
Lighting Designer Director: Barrie Rutter
Set designer: Neil Murray
May 2017
My Brilliant Friend Theatre Rose Theatre Kingston Lighting Designer Director: Melly Still
Set designer: Soutra Gilmour
Feb 2017
Fidelio Opera Royal Festival Hall
London Philharmonic Orchestra
Lighting Designer Director: Daniel Slater
Set designer: Max Johns
Jan 2017
A Judgement in Stone Theatre Theatre Royal Windsor, then touring
Bill Kenwright Ltd
Lighting Designer Director: Roy Marsden
Set designer: Julie Godfrey
Jan 2017
A Very Old Man with Enormous Wings Theatre Little Angel Theatre
Little Angel Theatre in association with Kneehigh
Lighting Designer Director: Mike Shepherd
Set designer: Lyndie Wright
Nov 2016
The Little Matchgirl and Other Happier Tales Theatre Sam Wanamaker Playhouse Lighting Designer Director: Emma Rice
Set designer: Vicki Mortimer
Nov 2016
Le Premier Meurtre Opera Opéra de Lille
Le Balcon
Lighting Designer Director: Ted Huffman
Nov 2016
Good Canary Theatre Rose Theatre Kingston Lighting Designer Director: John Malkovich
Set designer: Pierre-François Limbosch
Sep 2016
946: The Amazing Story of Adolphus Tips Theatre Shakespeare's Globe, then touring
Kneehigh, Birmingham Rep & Berkeley Repertory Theatre
Lighting Designer Director: Emma Rice
Set designer: Lez Brotherston
Aug 2016
FUP Theatre Kneehigh Asylum
Kneehigh and o-region
Lighting Designer Director: Simon Harvey
Set designer: Rosanna Vize
Aug 2016
Capriccio Opera Santa Fe Opera Lighting Designer Director: Tim Albery
Set designer: Tobias Hoheisel
Jul 2016
Idomeneo Opera Garsington Opera Lighting Designer Director: Tim Albery
Set designer: Hannah Clark
Jun 2016
The Flying Lovers of Vitebsk Theatre Bristol Old Vic, then touring
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Sophia Clist
May 2016
In Parenthesis Opera Wales Millennium Centre, Royal Opera House, then touring
Welsh National Opera
Lighting Designer Director: David Pountney
Set designer: Robert Innes Hopkins
May 2016
A Midsummer Night's Dream Theatre Shakespeare's Globe Lighting Designer Director: Emma Rice
Set designer: Börkur Jónsson
Apr 2016
Pleasure Opera Howard Assembly Room, then touring
Opera North, Aldeburgh Music and Royal Opera House
Lighting Designer Director: Tim Albery
Set designer: Leslie Travers
Apr 2016
Only the Brave Musical Wales Millennium Centre
Wales Millennium Centre, Soho Theatre, Daniel Sparrow & Birdsong Productions
Lighting Designer Director: Steve Marmion
Set designer: Michael Vale
Mar 2016
The Herbal Bed Theatre Royal Theatre Northampton, then touring
English Touring Theatre, Royal & Derngate and Rose Theatre Kingston
Lighting Designer Director: James Dacre
Set designer: Jonathan Fensom
Feb 2016
A Christmas Carol Theatre Rose Theatre Kingston Lighting Designer Director: Ciaran McConville
Set designer: Timothy Bird
Dec 2015
My People Theatre Clwyd Theatr Cymru
Invertigo & Clwyd Theatr Cymru
Lighting Designer Director: Steffan Donnelly
Set designer: Cécile Trémolières
Nov 2015
Snow White Dance Northern Stage, then touring
balletLORENT, Northern Stage and Sadler's Wells
Lighting Designer Choreographer: Liv Lorent
Set designer: Phil Edolls
Oct 2015
Dead Dog in a Suitcase (and other love songs) Theatre HOME Manchester, then touring
Kneehigh
Lighting Designer Director: Mike Shepherd
Set designer: Michael Vale
Sep 2015
A View from the Bridge Theatre Gate Theatre Dublin Lighting Designer Director: Joe Dowling
Set designer: Beowulf Boritt
Sep 2015
Wallflower Theatre Noorderzon Performing Arts Festival Groningen, then touring
Quarantine
Lighting Designer Director: Richard Gregory
Set designer: Simon Banham
Aug 2015
Love Struck Dance Stockton International Riverside Festival
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Set designer: Phil Edolls
Jul 2015
946 Theatre Kneehigh Asylum
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Lez Brotherston
Jul 2015
Lucia di Lammermoor Opera Buxton Opera House
Buxton Festival
Lighting Designer Director: Stephen Unwin
Set designer: Jonathan Fensom
Jul 2015
Giovanna d'Arco Opera Buxton Opera House
Buxton Festival
Lighting Designer Director: Elijah Moshinsky
Set designer: Russell Craig
Jul 2015
The Dead Monkey Theatre Park Theatre
Mongrel Thumb
Lighting Designer Director: Hannah Price
Set designer: Anthony Lamble
Jun 2015
What Falls Apart Theatre Live Theatre, Newcastle Lighting Designer Director: Max Roberts
Set designer: Isla Shaw
Apr 2015
After Electra Theatre Tricycle Theatre & Plymouth Drum
Theatre Royal Plymouth
Lighting Designer Director: Samuel West
Set designer: Michael Taylor
Mar 2015
The Three Lions Theatre St. James Theatre London, then touring
Jenny Topper and Rosie Bowen for PBJ Management
Lighting Designer Director: Philip Wilson
Set designer: Colin Falconer
Mar 2015
The Boy in the Striped Pyjamas Theatre Chichester Festival Theatre, then touring
Children's Touring Partnership
Lighting Designer Director: Joe Murphy
Set designer: Robert Innes Hopkins
Feb 2015
Boa Theatre Trafalgar Studios Lighting Designer Director: Hannah Price
Set designer: Anthony Lamble
Feb 2015
Flying into Daylight Theatre Live Theatre, Newcastle Lighting Designer Director: Ron Hutchinson and Max Roberts
Set designer: Gary McCann
Nov 2014
Tristan and Yseult Theatre St. Ann's Warehouse, New York, then touring
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Bill Mitchell
Nov 2014
The Coronation of Poppea Opera Leeds Grand Theatre, then touring
Opera North
Lighting Designer Director: Tim Albery
Set designer: Hannah Clark
Oct 2014
Ghost from a Perfect Place Theatre Arcola Theatre Lighting Designer Director: Russell Bolam
Set designer: Anthony Lamble
Sep 2014
Orfeo ed Euridice Opera Buxton Opera House
Buxton Festival
Lighting Designer Director: Stephen Medcalf
Set designer: Francis O'Connor
Jul 2014
The Jacobin Opera Buxton Opera House
Buxton Festival
Lighting Designer Director: Stephen Unwin
Set designer: Jonathan Fensom
Jul 2014
Dead Dog in a Suitcase (and other love songs) Theatre Liverpool Everyman, then touring
Kneehigh
Lighting Designer Director: Mike Shepherd
Set designer: Michael Vale
Jun 2014
Not the Worst Place Theatre Clwyd Theatr Cymru & Sherman Cymru
Paines Plough
Lighting Designer Director: George Perrin
Set designer: Hannah Clark
Apr 2014
The Girl's Guide to Saving the World Theatre HighTide Festival Theatre Lighting Designer Director: Amelia Sears
Set designer: Jamie Vartan
Apr 2014
Spring Awakening Theatre West Yorkshire Playhouse, Southampton Nuffield, then touring
Headlong
Lighting Designer Director: Ben Kidd
Set designer: Colin Richmond
Mar 2014
The Threepenny Opera Theatre Nottingham Playhouse, then touring
Graeae, Nottingham Playhouse, Ipswich Wolsey, WY Playhouse & Birmingham Rep
Lighting Designer Director: Jenny Sealey and Peter Rowe
Set designer: Neil Murray
Feb 2014
Brief Encounter Theatre Wallis Annenberg Center Beverly Hills, then touring
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Neil Murray
Feb 2014
Refugee Boy Theatre West Yorkshire Playhouse, then touring Lighting Designer Director: Gail McIntyre
Set designer: Emma Williams
Feb 2014
Moon Tiger Theatre Theatre Royal Bath, then touring
Theatre Royal Bath Productions
Lighting Designer Director: Stephen Unwin
Set designer: Timothy Bird
Jan 2014
The Night Before Christmas Theatre Soho Theatre Lighting Designer Director: Steve Marmion
Set designer: Michael Vale
Nov 2013
Dark Road Theatre Edinburgh Royal Lyceum Lighting Designer Director: Mark Thomson
Set designer: Francis O'Connor
Sep 2013
Brief Encounter Theatre Adelaide Festival Theatre, then touring
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Neil Murray
Sep 2013
The Three Lions Theatre Pleasance Edinburgh
Jenny Topper and Rosie Bowen for PBJ Management with Pleasance
Lighting Designer Director: Philip Wilson
Set designer: Colin Falconer
Jul 2013
Each of Us Theatre Pleasance Edinburgh, then touring
Ben Moor
Lighting Designer Director: Erica Whyman
Jul 2013
The Energy Show Theatre Science Museum London IMAX, then touring
Science Museum Live
Lighting Designer Director: Martin Lamb
Set designer: Janet Bird
Jul 2013
The Night Ball Dance Wallsend Memorial Hall, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Jul 2013
Tristan and Yseult Theatre West Yorkshire Playhouse, then touring
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Bill Mitchell
Jun 2013
The Birthday Party Theatre Manchester Royal Exchange Lighting Designer Director: Blanche McIntyre
Set designer: Dick Bird
Jun 2013
Ours was the Fen Country Dance New Wolsey Theatre Ipswich, then touring
Still House
Lighting Designer Choreographer: Dan Canham
May 2013
The Empress Theatre Swan Theatre
Royal Shakespeare Company
Lighting Designer Director: Emma Rice
Set designer: Lez Brotherston
Apr 2013
Forever House Theatre Drum Theatre Plymouth Lighting Designer Director: Joe Murphy
Set designer: Hannah Clark
Mar 2013
Refugee Boy Theatre West Yorkshire Playhouse Lighting Designer Director: Gail McIntyre
Set designer: Emma Williams
Mar 2013
The Threepenny Opera Concert Theatre des Champs-Élysées & Royal Festival Hall, then touring
London Philharmonic Orchestra
Lighting Designer Director: Ted Huffman
Feb 2013
And Then the Dark Theatre New Wolsey Theatre Ipswich Lighting Designer Director: Peter Rowe
Set designer: Richard Foxton
Feb 2013
The Wild Bride Theatre Berkeley Repertory Theatre and St. Ann's Warehouse, New York
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Bill Mitchell
Jan 2013
The Dead Theatre Abbey Theatre, Dublin Lighting Designer Director: Joe Dowling
Set designer: Riccardo Hernandez
Dec 2012
The Promise Theatre Trafalgar Studios
Donmar Warehouse
Lighting Designer Director: Alex Sims
Set designer: Mike Britton
Nov 2012
Rapunzel Dance Gala Theatre Durham, then touring
balletLORENT, Northern Stage and Sadler's Wells
Lighting Designer Choreographer: Liv Lorent
Set designer: Phil Edolls
Oct 2012
London Theatre Salisbury Playhouse, then touring
Paines Plough
Lighting Designer Director: George Perrin
Set designer: Hannah Clark
Oct 2012
Steptoe and Son Theatre Kneehigh Asylum, then touring
Kneehigh & West Yorkshire Playhouse
Lighting Designer Director: Emma Rice
Set designer: Neil Murray
Jul 2012
West Side Story Musical The Sage Gateshead Lighting Designer Director: Will Tuckett
Set designer: Michael Vale
Jul 2012
Wah! Wah! Girls Musical Peacock Theatre, then touring
Sadler's Wells, Theatre Royal Stratford East & Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Keith Khan
May 2012
Belong Theatre Royal Court Jerwood Theatre Upstairs, then touring
Royal Court Theatre and Tiata Fahodzi
Lighting Designer Director: Indhu Rubasingham
Set designer: Ben Stones
Apr 2012
The Seven Year Itch Theatre Salisbury Playhouse Lighting Designer Director: Blanche McIntyre
Set designer: James Cotterill
Mar 2012
The Lady from the Sea Theatre Rose Theatre Kingston Lighting Designer Director: Stephen Unwin
Set designer: Simon Higlett
Feb 2012
The Pitchfork Disney Theatre Arcola Theatre Lighting Designer Director: Edward Dick
Set designer: Bob Bailey
Jan 2012
Stones In His Pockets Theatre Tricycle Theatre, then touring Lighting Designer Director: Indhu Rubasingham
Set designer: Rosa Maggiora
Dec 2011
A Very Old Man with Enormous Wings Theatre Little Angel Theatre, then touring
Little Angel Theatre in association with Kneehigh
Lighting Designer Director: Mike Shepherd
Set designer: Lyndie Wright
Nov 2011
Little Women Theatre Gate Theatre Dublin Lighting Designer Director: Michael Barker-Caven
Set designer: Paul O’Mahony
Nov 2011
Persuasion Theatre Salisbury Playhouse Lighting Designer Director: Kate Saxon
Set designer: Libby Watson
Oct 2011
Farewell to the Theatre Theatre Rose Theatre Kingston Lighting Designer Director: Stephen Unwin
Set designer: Hayden Griffin
Sep 2011
The Importance of Being Earnest Theatre Rose Theatre Kingston, then touring Lighting Designer Director: Stephen Unwin
Set designer: Hayden Griffin
Sep 2011
Decade Theatre Commodity Quay, St. Katharine Docks
Headlong Theatre
Lighting Designer Director: Rupert Goold
Set designer: Miriam Buether
Sep 2011
The Wild Bride Theatre Kneehigh Asylum, then touring
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Bill Mitchell
Aug 2011
Midnight's Pumpkin Theatre Kneehigh Asylum, then touring
Kneehigh
Lighting Designer Director: Emma Rice and Mike Shepherd
Set designer: Michael Vale
Jul 2011
HMS Pinafore Musical Guthrie Theater Minneapolis Lighting Designer Director: Joe Dowling
Set designer: Frank Hallinan Flood
Jun 2011
The Acid Test Theatre Royal Court Jerwood Theatre Upstairs Lighting Designer Director: Simon Godwin
Set designer: Paul Wills
May 2011
Calendar Girls (Canada) Theatre John Hirsch Theatre Winnipeg & Royal Alexandra Theatre Toronto
Manitoba Theatre Centre and Mirvish Productions
Lighting Designer Director: Marti Maraden
Set designer: Rob Jones
Mar 2011
The Umbrellas of Cherbourg Musical Gielgud Theatre
Kneehigh & Daniel Sparrow Productions
Lighting Designer Director: Emma Rice
Set designer: Lez Brotherston
Mar 2011
The Umbrellas of Cherbourg Theatre Curve, Leicester
Kneehigh & Daniel Sparrow Productions
Lighting Designer Director: Emma Rice
Set designer: Lez Brotherston
Feb 2011
The Field Theatre Olympia Theatre, Dublin, then touring
Lane Productions
Lighting Designer Director: Joe Dowling
Set designer: Frank Hallinan Flood
Jan 2011
Kin Theatre Royal Court Jerwood Theatre Upstairs Lighting Designer Director: Jeremy Herrin
Set designer: Bunny Christie
Nov 2010
Crash Theatre West Yorkshire Playhouse Lighting Designer Director: Sarah Esdaile
Set designer: Francis O'Connor
Oct 2010
Brief Encounter Theatre Studio 54, New York
Kneehigh & Roundabout Theatre Company
Lighting Designer Director: Emma Rice
Set designer: Neil Murray
Sep 2010
The King of Prussia Theatre Kneehigh Asylum
Kneehigh
Lighting Designer Director: Mike Shepherd
Aug 2010
Blast! Theatre Kneehigh Asylum
Kneehigh
Lighting Designer Director: Emma Rice and Mike Shepherd
Aug 2010
The Red Shoes Theatre Kneehigh Asylum, then touring
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Bill Mitchell
Jul 2010
Spur of the Moment Theatre Royal Court Jerwood Theatre Upstairs Lighting Designer Director: Jeremy Herrin
Set designer: Max Jones
Jul 2010
Armida Opera Garsington Opera Lighting Designer Director: Martin Duncan
Set designer: Ashley Martin-Davis
Jun 2010
The Marriage of Figaro Opera Garsington Opera Lighting Designer Director: John Cox
Set designer: Robert Perdziola
Jun 2010
The Devil Inside Him Theatre New Theatre Cardiff
National Theatre Wales
Lighting Designer Director: Elen Bowman
Set designer: Alex Eales
May 2010
Calendar Girls (Australia) Theatre Lyric Theatre Brisbane, Theatre Royal Sydney, then touring Lighting Designer Director: Psyche Stott
Set designer: Rob Jones
Apr 2010
Dumb Show Theatre Rose Theatre Kingston Lighting Designer Director: Stephen Unwin
Set designer: Simon Higlett
Apr 2010
Dark Side of Buffoon Theatre Coventry Belgrade and Lyric Hammersmith Lighting Designer Director: Timothy Sheader
Set designer: Michael Pavelka
Feb 2010
Blood, Sweat and Tears Theatre Northern Stage, then touring
balletLORENT
Lighting Designer Jan 2010
Jack and the Beanstalk Theatre Lyric Hammersmith Lighting Designer Director: Steve Marmion
Set designer: Tom Scutt
Nov 2009
Confessions of a Justified Sinner Theatre Edinburgh Lyceum Lighting Designer Director: Mark Thomson
Set designer: Neil Murray
Oct 2009
Six Characters in Search of an Author Theatre Bristol Old Vic, then touring
Headlong
Lighting Designer Director: Rupert Goold
Set designer: Miriam Buether
Sep 2009
Brief Encounter Theatre A.C.T. San Francisco, St. Ann's Warehouse New York, Guthrie Theater Minneapolis
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Neil Murray
Sep 2009
La Nuit Intime Dance Logen Teater, Bergen
balletLORENT & Carte Blanche, Norway
Lighting Designer Choreographer: Liv Lorent
May 2009
The Winslow Boy Theatre Rose Theatre Kingston, then touring
Rose Theatre Kingston & Bath Theatre Royal
Lighting Designer Director: Stephen Unwin
Set designer: Simon Higlett
May 2009
Copenhagen Theatre Edinburgh Lyceum Lighting Designer Director: Tony Cownie
Set designer: Neil Murray
Apr 2009
Calendar Girls Theatre Noel Coward Theatre, then touring Lighting Designer Director: Hamish McColl
Set designer: Rob Jones
Apr 2009
His Dark Materials Theatre Birmingham Rep, then touring
Birmingham Rep and West Yorkshire Playhouse
Lighting Designer Director: Rachel Kavanaugh and Sarah Esdaile
Set designer: Ruari Murchison
Mar 2009
Edward Gant's Amazing Feats of Loneliness Theatre Southampton Nuffield, then touring
Headlong
Lighting Designer Director: Steve Marmion
Set designer: Tom Scutt
Feb 2009
Crush - A Solo Dance DanceCity, Newcastle upon Tyne, then touring
Daniel Daw
Lighting Designer Choreographer: Liv Lorent
Feb 2009
Don John Theatre Courtyard Theatre, Stratford, then touring
RSC and Kneehigh Theatre
Lighting Designer Director: Emma Rice
Set designer: Vicki Mortimer
Dec 2008
Mary Rose Theatre Edinburgh Lyceum Lighting Designer Director: Tony Cownie
Set designer: Neil Murray
Oct 2008
The Bloody Chamber Theatre Northern Stage Lighting Designer Director: Neil Murray
Set designer: Neil Murray
Sep 2008
Six Characters in Search of an Author Theatre Gielgud Theatre
Headlong
Lighting Designer Director: Rupert Goold
Set designer: Miriam Buether
Sep 2008
Calendar Girls Theatre Chichester Festival Theatre, then touring Lighting Designer Director: Hamish McColl
Set designer: Rob Jones
Sep 2008
Not Everything is Significant Theatre Pleasance Edinburgh
Ben Moor
Lighting Designer Director: Erica Whyman
Jul 2008
The Gymnast Theatre Pleasance Edinburgh
The Empty Space and Northern Stage
Lighting Designer Director: Nigel Charnock and Jane Arnfield
Set designer: Neil Murray
Jul 2008
Six Characters in Search of an Author Theatre Chichester Festival Theatre
Headlong & Chichester Festival Theatre
Lighting Designer Director: Rupert Goold
Set designer: Miriam Buether
Jun 2008
James and the Giant Peach Theatre Royal Theatre Northampton Lighting Designer Director: Dani Parr
Set designer: Ben Stones
Jun 2008
MaEternal Dance Northern Stage
balletLORENT
Lighting Designer Choreographer: Liv Lorent
May 2008
Kafka's Dick Theatre Watford Palace Theatre Lighting Designer Director: Sarah Esdaile
Set designer: Neil Irish
May 2008
Cymbeline Theatre Teatro Colon, Bogotá and Teatro Popular do SESI, São Paulo
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Michael Vale
Mar 2008
The Grouch Theatre West Yorkshire Playhouse Lighting Designer Director: Sarah Esdaile
Set designer: Ruari Murchison
Feb 2008
Brief Encounter Theatre The Cinema on the Haymarket, then touring
Kneehigh Theatre / David Pugh
Lighting Designer Director: Emma Rice
Set designer: Neil Murray
Feb 2008
Designer Body Dance The Sage, Gateshead, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Jan 2008
Beauty and the Beast Theatre West Yorkshire Playhouse Lighting Designer Director: Gail McIntyre
Set designer: Barney George
Dec 2007
Faustus Theatre Southampton Nuffield, then touring
Headlong
Lighting Designer Director: Rupert Goold
Set designer: Laura Hopkins
Oct 2007
Brief Encounter Theatre Birmingham Rep and West Yorkshire Playhouse
Kneehigh Theatre
Lighting Designer Director: Emma Rice
Set designer: Neil Murray
Sep 2007
Carmen Jones Musical Royal Festival Hall Lighting Designer Director: Jude Kelly
Set designer: Michael Vale
Jul 2007
Starseeker Theatre Royal Theatre Northampton Lighting Designer Director: Dani Parr
Set designer: Kate Bunce
Jun 2007
Trance Theatre The Bush Theatre Lighting Designer Director: Shoji Kokami and Sarah Chew
Set designer: Bob Bailey
Jun 2007
The Seven Deadly Sins Dance Wales Millennium Centre, then touring
Welsh National Opera and Diversions Dance
Lighting Designer Choreographer: Roy Campbell-Moore
Set designer: Jonathan Adams
May 2007
Cyrano de Bergerac Theatre Bristol Old Vic Lighting Designer Director: Simon Reade
Set designer: Niki Turner
May 2007
Tutti Frutti Theatre Kings Theatre, Glasgow, then touring
National Theatre of Scotland
Lighting Designer Director: Tony Cownie
Set designer: Neil Murray
Apr 2007
Someone Else's Shoes Theatre Soho Theatre
English Touring Theatre
Lighting Designer Director: Stephen Unwin
Set designer: Anna Fleischle
Mar 2007
Mrs. Warren's Profession Theatre Edinburgh Lyceum & Nottingham Playhouse Lighting Designer Director: Tony Cownie
Set designer: Neil Murray
Feb 2007
Angelmoth Dance Dance City, Newcastle upon Tyne, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Set designer: Phil Eddolls
Dec 2006
The Little Prince Theatre Northern Stage Lighting Designer Director: Neil Murray
Set designer: Neil Murray
Nov 2006
Faustus Theatre Hampstead Theatre
Oxford Stage Company
Lighting Designer Director: Rupert Goold
Set designer: Laura Hopkins
Oct 2006
Mother Courage Theatre Malvern Theatre, then touring
English Touring Theatre
Lighting Designer Director: Stephen Unwin
Set designer: Paul Wills
Oct 2006
Cymbeline Theatre Restormel Castle; The Swan, Stratford, then touring
Kneehigh Theatre / RSC Complete Works
Lighting Designer Director: Emma Rice
Set designer: Michael Vale
Aug 2006
The Philosophers' Stone Opera Garsington Opera Lighting Designer Director: John Cox
Set designer: Peter Ruthven Hall
Jun 2006
La Penumbra Dance Dance Lab, Newcastle upon Tyne
Dance City
Lighting Designer Choreographer: Liv Lorent
Jun 2006
Monkey Theatre Dundee Rep, then touring
Dundee Rep and Scottish Dance Theatre
Lighting Designer Director: Dominic Hill and Janet Smith
Set designer: Ben Stones
May 2006
A Nightingale Sang in Eldon Square Theatre Live Theatre, Newcastle Lighting Designer Director: Max Roberts
Set designer: Nigel Hook
Mar 2006
Scuffer Theatre West Yorkshire Playhouse Lighting Designer Director: Alex Chisholm
Set designer: Emma Williams
Mar 2006
Hamlet Theatre New Ambassadors, London
English Touring Theatre
Lighting Designer Director: Stephen Unwin
Set designer: Michael Vale
Feb 2006
La Nuit Intime Dance The Wardrobe, Leeds, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Jan 2006
Nights at the Circus Theatre Lyric Hammersmith, Bristol Old Vic, then touring
Kneehigh Theatre and Lyric Hammersmith
Lighting Designer Director: Emma Rice
Set designer: Bill Mitchell and Vicki Mortimer
Jan 2006
Woody Allen's Murder Mysteries Musical Croydon Warehouse
I'm a Camera
Lighting Designer Director: Janey Clarke
Set designer: Charlie Cridlan
Dec 2005
Dick Whittington Theatre Clwyd Theatr Cymru Lighting Designer Director: Peter Rowe
Set designer: Judith Croft
Nov 2005
The Lovers Theatre Live Theatre, Newcastle Lighting Designer Director: Jeremy Herrin
Set designer: Imogen Cloët
Nov 2005
Great Expectations Theatre Tyne Theatre, Newcastle, then touring
Northern Stage
Lighting Designer Director: Neil Murray
Set designer: Neil Murray
Oct 2005
Hamlet Theatre Oxford Playhouse, then touring
English Touring Theatre
Lighting Designer Director: Stephen Unwin
Set designer: Michael Vale
Sep 2005
Antigone at Hell's Mouth Theatre Soho Theatre
Kneehigh Theatre and National Youth Theatre
Lighting Designer Director: Mike Shepherd
Set designer: Chloe Lamford
Aug 2005
Coelacanth Theatre Pleasance Theatre, Edinburgh
Ben Moor
Lighting Designer Director: Erica Whyman
Aug 2005
Hay Fever Theatre York Theatre Royal Lighting Designer Director: Damian Cruden
Set designer: Nigel Hook
May 2005
Our Kind of Fun Theatre Live Theatre, Newcastle Lighting Designer Director: Jeremy Herrin
Set designer: Becs Andrews
May 2005
Lush Life Musical Live Theatre, Newcastle Lighting Designer Director: Max Roberts
Set designer: Imogen Cloët
Mar 2005
Macbeth Theatre York Theatre Royal Lighting Designer Director: Damian Cruden
Set designer: Damian Cruden
Feb 2005
Little Sweet Thing Theatre New Wolsey Theatre, Ipswich, then touring
Eclipse Theatre/Birmingham Rep/Nottingham Playhouse
Lighting Designer Director: Michael Buffong
Set designer: Ruari Murchison
Feb 2005
The Lion, The Witch and The Wardrobe Theatre West Yorkshire Playhouse Lighting Designer Director: Ian Brown
Set designer: Ruari Murchison
Nov 2004
Toast Theatre Live Theatre, Newcastle Lighting Designer Director: Jeremy Herrin
Set designer: Imogen Cloët
Nov 2004
Kaput! Theatre Northern Stage Lighting Designer Director: Neil Murray
Set designer: Neil Murray
Oct 2004
The Bacchae Theatre West Yorkshire Playhouse, then touring
Kneehigh
Lighting Designer Director: Emma Rice
Set designer: Bill Mitchell
Sep 2004
Black Cocktail Theatre Pleasance Theatre, Edinburgh
Ben Moor
Lighting Designer Director: Erica Whyman
Aug 2004
Vodou Nation Theatre West Yorkshire Playhouse, then touring Lighting Designer Director: Brett Bailey and Geraldine Connor
Set designer: Brett Bailey
Jun 2004
La Vie de Fantasmes Erotiques et Esthetiques Dance York Theatre Royal, then touring
balletLORENT
Lighting Designer Choreographer: Liv Lorent
May 2004
Dirty Nets Theatre Live Theatre, Newcastle Lighting Designer Director: Jeremy Herrin
Set designer: Imogen Cloët
Apr 2004
Homage to Catalonia Theatre West Yorkshire Playhouse, then touring
Northern Stage, Teatre Romea, Bobigny Paris
Lighting Designer Director: Josep Galindo
Set designer: Neil Murray
Apr 2004
Charlie's Trousers Theatre Live Theatre, Newcastle Lighting Designer Director: Max Roberts
Set designer: Imogen Cloët
Mar 2004
Medea Theatre West Yorkshire Playhouse Lighting Designer Director: Femi Elufowoju Jnr
Set designer: Ruari Murchison
Nov 2003
Keepers of the Flame Theatre Live Theatre, Newcastle
RSC
Lighting Designer Director: Max Roberts
Set designer: Imogen Cloët
Nov 2003
Cinzano and Smirnova's Birthday Theatre Northern Stage Lighting Designer Director: Neil Murray
Set designer: Neil Murray
Oct 2003
Romeo and Juliet Theatre York Theatre Royal, then touring
English Touring Theatre
Lighting Designer Director: Stephen Unwin
Set designer: Sara Perks
Sep 2003
Bill Shakespeare's Italian Job Theatre Gilded Balloon, Edinburgh
Cooperesque
Lighting Designer Director: Malachi Bogdanov
Set designer: Bruce French
Aug 2003
Off Camera Theatre West Yorkshire Playhouse Lighting Designer Director: Femi Elufowoju Jnr
Set designer: Joanna Parker
Jun 2003
Who Put Bella in the Wych-Elm? Opera Jubilee Hall, Aldeburgh, then touring
Almeida Aldeburgh Opera
Lighting Designer Director: Cathie Boyd
Set designer: Julia Bardsley
Jun 2003
John Gabriel Borkman Theatre Malvern Festival Theatre, then touring
English Touring Theatre
Lighting Designer Director: Stephen Unwin
Set designer: Neil Warmington
Feb 2003
The Ball Dance Site specific UK and European tour
balletLORENT
Lighting Designer Choreographer: Liv Lorent
Dec 2002
The Snow Queen Theatre Newcastle Playhouse
Northern Stage
Lighting Designer Director: Neil Murray
Set designer: Neil Murray
Nov 2002
Dealer's Choice Theatre Salisbury Playhouse Lighting Designer Director: Femi Elufowoju Jnr
Set designer: Joanna Parker
Oct 2002
Foyer Theatre Leicester Haymarket Lighting Designer Director: Richard Gregory
Set designer: Simon Banham
Sep 2002
Bob Downe - Brighter! Whiter! Musical Assembly Rooms, Edinburgh, then touring
Karushi
Lighting Designer Director: Mark Trevorrow
Aug 2002
Bintou Theatre Arcola Theatre Lighting Designer Director: Sacha Wares
Set designer: Miriam Buether
Jul 2002
Noir Theatre Newcastle Playhouse
Northern Stage and Live Theatre
Lighting Designer Director: Max Roberts
Set designer: Imogen Cloët
May 2002
Pandora's Box Theatre Newcastle Playhouse, then touring
Kneehigh Theatre and Northern Stage
Lighting Designer Director: Emma Rice
Set designer: Neil Murray
Mar 2002
The Selfish Giant Theatre Leicester Haymarket Theatre Lighting Designer Director: Annie Wood
Set designer: Imogen Cloët
Nov 2001
A Billion Seconds Theatre Toynbee Studios, then touring
Strathcona Theatre Company
Lighting Designer Director: Ann Cleary
Set designer: Amelia Pimlott
Oct 2001
Abyssinia Theatre Southwark Playhouse, then touring
Tiata Fahodzi
Lighting Designer Director: Femi Elufowoju Jnr
Set designer: Yukiko Tsukamoto
Sep 2001
Three Wishes Theatre Pleasance Theatre, Edinburgh
Karushi
Lighting Designer Director: Erica Whyman
Set designer: Naomi Wallace
Aug 2001
The Tiger's Bride Theatre Northern Stage Lighting Designer Director: Neil Murray
Set designer: Neil Murray
May 2001
The Selfish Giant Theatre Northern Stage Lighting Designer Director: Annie Wood
Set designer: Imogen Cloët
Dec 2000
The Ghost of Garcia Lorca... Theatre Gulbenkian Studio, Newcastle, then touring
Foolsyard
Lighting Designer Director: Paul Phillips
Set designer: Imogen Cloët
Mar 2000
Tear from a Glass Eye Theatre Gate Theatre / National Theatre Studio Lighting Designer Director: Erica Whyman
Set designer: Soutra Gilmour
Feb 2000
Location availability:
  • Worldwide
Contact method Details
Mobile phone

07976 441 407

Email address

malcolm@rippeth.co.uk

Agent name

Clare Vidal-Hall

Agent phone

020 8741 7647

Agent email

cvh@clarevidalhall.com

Website

http://www.rippeth.co.uk

Theatre:
  • West End
  • Commercial Tour
  • Regional (Main House)
  • Regional (Studio)
Musical:
  • West End
  • Regional (Main House)
  • Regional (Studio)
Opera:
  • Large scale
  • Small scale
Dance:
  • Large Scale
  • Medium Scale

News

Appearing here soon... a collection of articles from the Focus magazine archives.

Press quotes

Der Rosenkavalier

Lighting designer Malcom Rippeth has worked hand in glove with Mr. McCann to flood the stage with subtly shifting effects that deepen the dramatic moments, then turn around on a dime and heighten the comic exchanges.
James Sohre, Opera Today 05/08/2024
McCann's striking 20th-century costumes and Malcolm Rippeth's lighting kept the attention on the characters and their moments of revelation.
Heidi Waleson, Wall Street Journal 05/08/2024
In an interview with Ravella in the opera catalog, writer Michael Clive notes the director’s “special attention” to Der Rosenkavalier’s “preoccupation with time.” I would note Lighting Designer Malcolm Rippeth’s genius contributions in this realm throughout, particularly in the opera’s final, transcendent moments.
Julia Goldberg, Santa Fe Reporter 24/07/2024
It’s visually breathtaking: in this co-production with Garsington Opera and Santa Fe Opera, the designer Gary McCann’s scale-busting bedroom (act one) and drawingroom (act two) inflate the aristocratic excess of imperial Vienna in the mid-18th century, while his costumes fast-forward the action to the mid-20th. Gigantic windows flood the rooms with Malcolm Rippeth’s almost celestial sunlight, which he swaps for the half-light from grimy chandeliers in act three’s dingy tavern. It all provides a sumptuous platform for Strauss’s very sumptuous music.
Michael Dungan, The Irish Times 06/03/2023

Platée

Lit with sensitivity by Malcolm Rippeth, the staging is unfailingly inventive visually
George Hall, The Stage 30/05/2024

Carmen

Moreover, Malcolm Rippeth’s lighting makes a major contribution in creating the astonishing energy, drive and heightened drama that accentuated this performance throughout.
Mike Hardy, Opera Wire 07/08/2024
It was a masterful display of perspective and thought from the design team, lead by Riccardo Hernandez, with Malcolm Rippeth’s ingenious lighting providing creative nuance and rhythmic fusion with the score.
Hattie Butterworth, Opera Now 20/05/2024
Malcolm Rippeth’s lighting adds atmosphere to every stage picture.
George Hall, The Stage 17/05/2024

Madama Butterfly

Scenografien blev understøttet af det flotte lysdesign af Malcolm Rippeth. / The scenography was supported by the great lighting design by Malcolm Rippeth.
Kristina McClelland Jacobsen, Ungt Theaterblod 28/02/2024
Gideon Davey’s fascinating stage, enhanced by sophisticated lighting effects (Malcolm Rippeth)...
Michael Tschida, Kleine Zeitung 16/10/2022

Rusalka

Malcolm Rippeth’s straight forward, powerful lighting design added immensely to the effect.
James Sohre, Opera Today 09/08/2023
Malcolm Rippeth’s dramatic lighting heightens all effects.
Scott Cantrell, Dallas Morning News 08/08/2023
It was all captivatingly bizarre and otherworldly, highlighted by Malcolm Rippeth’s brilliant lighting that contrasted brightness and shadow in almost equal measure.
Michael Anthonio, Parterre 31/07/2023
Set, costumes and lighting throughout the night provide an ongoing Rorschach test of sorts, with the white walls emphasizing the blood on Rusalka’s white gown, vivifying her new humanity; the red gown worn by the foreign princess (soprano Mary Elizabeth Williams in her feisty SFO debut) highlighting her sensual power; and Lighting Designer Malcolm Rippeth’s elemental use of color throughout the night summoning the unseen forest.
Julia Goldberg, Santa Fe Reporter 26/07/2023
...gorgeously lit by Malcolm Rippeth.
Mike Smith, Opera Scene 05/07/2022
Jack Furness’s new staging of Dvorak’s Rusalka at Garsington makes light and shade its playthings: throwing rich shadows through a towering, steampunky steel forest, holding the moonstruck heroine spellbound in a pure white beam, and striking glinting, shimmering reflections from the circular pool of water that dominates the set. It looks breathtaking (Malcolm Rippeth is the lighting designer) and the musical and dramatic performances find a complexity, a depth and a red-blooded emotional truth that I hadn’t thought possible in this lovely but sometimes chilly fairy-tale opera.
Richard Bratby, The Spectator 02/07/2022
Tom Piper’s design and Malcolm Rippeth’s lighting work together superbly to create the varying stage pictures of the crescent moon, rippling water and obscure, slightly disturbing woodland life.
Melanie Eskenazi, MusicOMH 22/06/2022

Ariadne Auf Naxos

Malcolm Rippeth’s atmospheric lighting creates all the necessary transformation from comedy to inner turmoil, a kind of Naxos of the mind.
David Truslove, Wales Arts Review 10/07/2023
…the final scene is brilliantly staged using a revolve, and the shining conclusion is magical. Malcolm Rippeth’s lighting is essential to all this, especially at the close, and the whole breathes a sense of collaboration in an unusual but most effective departure from the way in which this work is usually staged. Don’t miss it.
Melanie Eskenazi, musicOMH.com 26/06/2023
Designer Giles Cadle simple set of staircases and platforms initially frame the backstage doors and rooms for the Prologue, but are later transformed by Malcolm Rippeth’s lighting into a disquieting, Escher-type labyrinth – Naxos as an island of the mind where Natalya Romaniw’s Ariadne is effectively imprisoned by her own loneliness.
Tim Ashley, The Guardian 19/06/2023
As the second act draws to a close, Cadle and lighting designer Malcolm Rippeth create a magical effect of stars twinkling in the night sky as Bacchus’s divinity overcomes Ariadne’s deathwish.
David Karlin, Bachtrack 19/06/2023

Mitridate, re di Ponto

Malcolm Rippeth’s lighting played a vital part in this, allowing the atmosphere to vary between bright hope and dismal despair.
Melanie Eskenazi, MusicOMH 05/06/2023

Betty! A sort of Musical

…a shiveringly evocative combination of set and lighting by James Cotterill and Malcolm Rippeth respectively…
Clare Brennan, The Observer 18/12/2022

Stiffelio

Cet ascétisme monacal est une aubaine pour les magnifiques lumières de Malcolm Rippeth, libres de projeter sur les murs du lieu, à plus d’un moment-clef, les contours de personnages aux âmes tourmentées tandis que Ravella navigue, animé d’un constant souci esthétique, entre La Cène (les attablements collectifs), L’Arche de Noé (son église flanquée d’étais, prête à l’embarquement), et bien sûr Le Déluge. [This monastic asceticism is a godsend for the magnificent lights of Malcolm Rippeth, free to project on the walls of the place, at more than one key moment, the outlines of characters with tormented souls while Ravella navigates, animated by a constant aesthetic concern, between The Last Supper (the collective tables), Noah's Ark (its church flanked by props, ready for boarding), and of course The Deluge.]
Jean-Luc Clairet, ResMusica 26/11/2022
Les lumières de Malcolm Rippeth mettent la musique en valeur avec une certaine virtuosité, en particulier dans le finale de l’acte I (référence à la Cène). [Malcolm Rippeth's lights highlight the music with a certain virtuosity, especially in the finale of Act I (reference to the Last Supper).]
Damien Dutilleul, Olyrix 22/11/2022

Hamlet

Malcolm Rippeth’s scarce but hugely impactful lighting and Max Pappenheim’s eerie, low and rumbling soundscape also have a wonderful synergy.
Sarski Anderson, Bristol24/7 20/10/2022
…the gravedigger scene is delivered with memorable intensity beneath Malcolm Rippeth’s austere lighting.
Clive Davis, The Times 20/10/2022
Lighting designer Malcolm Rippeth has created slanting, consuming shadows as if painted by a Dutch master.
Benjamin Davis, Time Out 01/03/2006
It is also largely unadorned, to the point of almost complete reliance on Malcolm Rippeth's uncannily skilful lighting rather than scenery.
Carlo Ardito, Plays International 01/03/2006
The effect is rather like seeing a Rembrandt painting brought to life, an effect enhanced by Mark Bouman’s costumes and Malcolm Rippeth’s lighting.
Maxwell Cooter, Whatsonstage.com 26/02/2006
I should acknowledge many other virtues here - especially Malcolm Rippeth's superb lighting on the Ghost.
Alistair Macaulay, Financial Times 22/02/2006
...favouring Malcolm Rippeth's minimal lighting [...] with images that are reminiscent of Flemish Grand Master paintings.
Philip Fisher, British Theatre Guide
...a world lit like a Caravaggio painting.
Susan Irvine, Sunday Telegraph 09/10/2005
...light pouring in through casement windows like an interior painted by Vermeer.
Georgina Brown, Mail on Sunday 09/10/2005

The Turn of the Screw

My colleague Alexandra Coghlan was very impressed by its first outing in 2019, and while the cast has changed, the overall impact is still compelling – whether the atmospheric set (no door in Bluebeard’s castle ever swung open with quite such semi-sentient menace) or lighting designer Malcolm Rippeth’s ongoing game of wits with the fading daylight that streams through the sides of Garsington’s glass-sided theatre.
Richard Bratby, The Spectator 23/07/2022
As shadows lengthen outside, ghostly shadows within darken Christopher Oram’s handsome set, its decaying mansion ingeniously lit by Malcolm Rippeth.
David Truslove, Opera Today 04/07/2022
Louisa Muller’s ghostly Turn of the Screw was outstanding at Garsington – the finest production I’ve seen at this festival. Although wonderfully sung and acted, it was the staging itself which chilled, especially Malcolm Rippeth’s cunning lighting, not easy to manage in a venue flooded with natural light as performances begin.
Mark Pullinger, Bachtrack 27/12/2019
It’s an elegant trick to pull off in Garsington’s glass-box theatre — sunshine and garden views streaming in on every side, all asserting their comfort, their certainty. But Muller and lighting designer Malcolm Rippeth play the long game, drawing out the opera’s semblance of normality for as long as possible. Is that a figure we see through Christopher Oram’s cloudy conservatory windows, or just a shadow? Even Peter Quint’s first coaxing call is so soft you couldn’t swear you hadn’t imagined it. But as daylight gives way to flickering candles, shadows lengthen along with doubts.
Alexandra Coghlan, The Spectator 13/07/2019
...the atmospheric lighting of Malcolm Rippeth.
Tim Hughes, Oxford Times 11/07/2019
This Gothic storehouse of sins, spirits and souls is lit, initially, by flickers of the early evening sun’s rays which finger the smeared, shimmering glass, and tease the eye. As darkness falls, Malcolm Rippeth’s spine-tingling lighting designs play their own tricks.
Claire Seymour, Opera Today 08/07/2019
Christopher Oram’s elegant set made exquisite use of the glass pavilion’s surroundings, and Malcolm Rippeth’s lighting showed that you do not need crepuscular gloom in order to evoke an atmosphere of increasing fear and obsession.
Melanie Eskenazi, MusicOMH 08/07/2019
Christopher Oram’s elegant designs, given shadow and flickering mystery as the evening draws in, thanks to Malcolm Rippeth’s ingenious lighting, double as interior and exterior.
Fiona Maddocks, The Observer 06/07/2019
...the crepuscular shadows of the candlelit interior (skilfully lit by Malcolm Rippeth) helped create a gripping and truly haunting atmosphere.
Barry Millington, The Evening Standard 02/07/2019
...Muller and lighting designer Malcolm Rippeth ratchet up the chill factor with shadows, reflections and candlelight.
Mark Pullinger, Bachtrack 02/07/2019
...unsettling lighting by Malcolm Rippeth...
Claudia Pritchard, Culture Whisper 02/07/2019

The Wreckers

Still’s updated staging uses choral choreography, lighting (Malcolm Rippeth) and video projections (Akhila Krishnan) to gripping and often startlingly beautiful effect.
Richard Bratby, The Spectator 01/06/2022
Throughout the drama, the use of a revolve creates the effect of a net being spun around all, like a poisonous spider’s web, the tension enhanced by Malcolm Rippeth’s suggestive lighting.
Claire Seymour, Opera Today 29/05/2022
…some excellent lighting and visuals conveying the passions of a storm at sea…
William Hartston, Daily Express 27/05/2022
Ana Inés Jabares-Pita’s sets, atmospherically lit by Malcolm Rippeth, evoke the sea fogs, eerie caverns and ghostly apparitions so suggestive of the underlying menace.
Barry Millington, The Evening Standard 23/05/2022

The Seven Pomegranate Seeds

...Malcolm Rippeth’s lighting is restlessly inventive.
Neil Norman, Daily Express 19/11/2021
Malcolm Rippeth's lighting design is often hauntingly beautiful…
Aliya Al-Hassan, Broadway World 12/11/2021
Still’s production is gorgeously lit by Malcolm Rippeth…
Theo Bosanquet, The Stage 11/11/2021

Bagdad Café

Rice lets the action unfold gently, on Lez Brotherston's gloriously simple yet effective set, beautifully lit with panoramic desert sunsets by Malcolm Rippeth.
Sarah Crompton, WhatsOnStage 29/07/2021
Lez Brotherston's ravishing, cloud-streaked visuals (gorgeously lit by Malcolm Rippeth and created "in cahoots", we're told, with Olivier Award-winner Vicki Mortimer) give an immediate sense of both space and place...
Matt Wolf, The Arts Desk 29/07/2021
The vivid design includes witty miniature vehicles conveying the roadside action and a banged-up trailer that swings round to reveal Brenda’s office, while Malcolm Rippeth’s lighting dyes the sky backdrop burnt orange and dusky pink.
Marianka Swain, The Telegraph 29/07/2021

Eugene Onegin

Designs by Tom Piper and lighting by Malcolm Rippeth are top-notch, typical of the Glyndebourne-level quality Garsington frequently produces.
David Nice, The Arts Desk 07/06/2021
Malcolm Rippeth’s lighting throws the angular struts of Tom Piper’s set into relief, projecting an abstract forest, and the half-lit stage becomes one with the dusk that creeps around Garsington Opera’s Pavilion. It’s a magical moment in Michael Boyd’s Eugene Onegin, new in 2016, and one of many in which cohesive stagecraft enhances the mood or action.
Edward Bhesania, The Stage 07/06/2021

The Flying Lovers of Vitebsk (live stream)

The triumph is how handmade “The Flying Lovers” still feels, even glowing out at us from a screen. This is partly down to the design: Sophia Clist’s bold costumes and simple set, with multiple planes all akimbo, and Malcolm Rippeth’s lighting, with its balance of saturation and subtlety.
LAURA COLLINS-HUGHES, The New York Times 07/12/2020
...the production’s visual flair — enhanced by Malcolm Rippeth’s lighting and Steve Tanner’s photography...
Clive Davis, The Times 07/12/2020

Afterplay

A palette of warm greys and faded wooden furniture picks up every shift in Malcolm Rippeth’s evocative lighting design, which drifts between honey-coloured heat and chilly blue in sync with the protagonists’ rising and falling hopes.
Dave Fargnoli, The Stage 13/03/2020

Songs for Nobodies

Malcolm Rippeth’s brilliant lighting design achieves everything from an intimate, shadowy moment to the glare of lonely exposure on stage.
Michael Brindley, Stage Whispers 22/12/2019
Directed by Simon Phillips, it’s spellbinding stuff: the set has minimal fuss, the lighting has maximum impact and the three-piece band is piping hot.
Dominic Cavendish, The Telegraph 12/01/2019
...all lit with moody magic by Malcolm Rippeth.
Alun Hood, WhatsOnStage 27/03/2018

Don Giovanni

As night draws in during the second half, there are chiaroscuro effects (lighting - Malcolm Rippeth) of which Caravaggio would be proud.
Claire Seymour, Opera Today 03/06/2019

Dead Dog in a Suitcase (and other love songs)

Mining John Gay's original Beggar's Opera and adding a layer of noire-ish political thriller vibes (credit must go to lighting designer Malcolm Rippeth, who has his own suitcase full of tricks), Carl Grose delivers a text that styles itself like an angsty British take on Sin City.
Alex Wood, WhatsOnStage 24/05/2019
...exceptionally and evocatively lit...
Ewen Coleman, The Dominion Post 29/02/2016

Captain Corelli's Mandolin

Still’s exuberantly physical, musical production is borne along by Mayou Trikerioti’s spare yet effective set and Malcolm Rippeth’s fine lighting
Patricia Nicol, The Sunday Times 19/05/2019
Two crumpled copper panels loom over Mayou Trikerioti’s sparse set, and with Malcolm Rippeth’s gorgeous lighting, you can almost feel the Mediterranean sun on your face.
Holly Williams, The Daily Mail 04/05/2019

God of Chaos

...lit by Malcolm Rippeth with great sensitivity for the play’s dramaturgy and tonal shifts.
Ben Kulvichit, The Stage 15/03/2019

Falstaff

...beautifully lit by Malcolm Rippeth...
Charlotte Valori, Bachtrack 19/06/2018
Malcolm Rippeth’s lighting creates enchantment...
Michael Church, The Independent 18/06/2018
The designs by Giles Cadle and the lighting by Malcolm Rippeth, particularly for the final scene in Windsor Forest, were delightful.
Sebastian Scotney, The Arts Desk 18/06/2018

Capriccio

...played out on Tobias Hoheisel’s clever designs and strikingly lit by Malcolm Rippeth, this ensemble piece has nuance and verve...
Neil Fisher, The Times 05/06/2018
Lighting, by Malcolm Rippeth, shows off everything to utmost advantage. At one point, as the Countess contemplates an abstract picture hanging on the wall, an unseen light source casts her silhouette across the canvas. The result is that she is looking at her painting and her shadow at the same time, in the same place. Art and life are again interfused.
James M. Keller, Santa Fe New Mexican 24/07/2016

The Flying Lovers of Vitebsk

In fact, Sophia Clist’s elegant design [...] is a miniature masterpiece, as is Malcolm Rippeth’s painterly lighting design.
Clive Paget, Limelight Magazine 12/06/2018
Sophia Clist's costumes and scenic design keep the pair perpetually within the borders of an evolving Chagall painting, which Malcolm Rippeth lights to gorgeous effect, in fitting homage to a painter of whom Picasso once said, "There's been anybody since Renoir who has the feeling for light that Chagall has."
Margaret Gray, LA Times 01/03/2018
Chagall continues to enshrine their loving moments in his fantastical paintings using a unique palette exploding with vibrant colors, which are recreated by Malcolm Rippeth’s gorgeous light design. He captures that essence by drenching the stage and actors with the intense colors used by Chagall, right down to pinpointing their faces with a kaleidoscope of changing hues.
Beverly Cohn, LA West Media 28/02/2018
...all of the above enhanced by Malcolm Rippeth’s ultra-vibrant lighting.
Steven Stanley, StageSceneLA 24/02/2018
...gorgeous, textural and painterly lighting managed by Malcolm Rippeth.
Simon Parker, Plymouth Herald 25/07/2016
Vibrant colour is very much central to the play, recalling but not aping Chagall's artwork. Longstanding Kneehigh lighting designer Malcolm Rippeth should be congratulated for ensuring purple, red, yellow and green are as much major characters as the Chagalls themselves.
Lee Trewhela, West Briton 16/07/2016
Sophia Clist’s beguiling set (beautifully lit)...
Dominic Cavendish, The Telegraph 05/06/2016

The Secret Theatre

A major part of the Sam Wanamaker’s USP is that it’s lit by candlelight. Yet with Malcolm Rippeth’s lighting design this feels more pronounced – the darkness darker, the flickering light more precarious.
Rosemary Waugh, Exeunt Magazine 24/11/2017
It's perfectly at home in the candlelit glower of the Sam Wanamaker Playhouse, and lighting designer Malcolm Rippeth descends the play into darkness with a simmering, slow-burning menace.
Matt Trueman, WhatsOnStage 23/11/2017
Indeed, Dunster and lighting designer Malcolm Rippeth make full use of [the Wanamaker’s trademark period-faithful candlelight] to drive home the most common metaphor for espionage: as we watch all these candles being repeatedly extinguished and relit, it is borne directly in on us how much of this business takes place in the shadows, how much we are kept in the dark.
Ian Shuttleworth, Financial Times 23/11/2017

Rumpelstiltskin

Here Malcolm Rippeth and Michael Morgan’s lighting design really comes into its own, creating a dark and uncomfortable intimacy with the characters.
Matt Miller, Exeunt Magazine 27/10/2017
Malcolm Rippeth’s hugely effective lighting (with Michael Morgan)—he really does know how to make gold glitter and use shadow play effectively.
Peter Lathan, British Theatre Guide 26/10/2017
Costumes (Michele Clapton), set (Phil Eddolls) and lighting (Malcolm Rippeth and Michael Morgan) are all gorgeous.
David Whetstone, Evening Chronicle 26/10/2017

Romantics Anonymous

The chandeliers have been dispensed with for this particular production, however the lit-up signs that form the main focus of Lez Brotherston's set and some more stellar lighting design from Malcolm Rippeth make this absence all worthwhile.
Broadway World 27/10/2017

The Tin Drum

Moreover, it is beautifully lit by Malcolm Rippeth.
James Ballands, British Theatre Guide 21/10/2017
The Tin Drum certainly makes you think, with Malcolm Rippeth's brooding lighting design a permanent reminder of the dark nature of this production.
Phil Hopkins, The Yorkshire Times 19/10/2017
Stunningly sculpted by Malcolm Rippeth’s lighting, its faded walls, decaying grandeur and scattered rubble are an ever-present reminder of the destruction human beings are capable of wreaking on one another, as well as of the beauty we have created in the world.
Catherine Love, The Guardian 06/10/2017
Played out on a richly designed and lit stage, this is glorious, anarchic storytelling, with the ability to captivate as well as challenge its audience.
Nigel Smith, The Stage 05/10/2017

Boudica

Cunobeline taking the mic and launching into The Clash classic "London Calling", complete with dancing and a stadium-standard light show (designed by Malcolm Rippeth), is a thrilling and entirely uplifting moment that's met with roars of crowd approval
Jane Kemp, WhatsOnStage 14/09/2017
...backed up by Malcolm Rippeth’s original lighting design (which gives particular atmosphere to Boudica's last moments).
Tom Birchenough, The Arts Desk 14/09/2017
Malcolm Rippeth’s light design is thrilling and vibrant...
Richard Maguire, The Reviews Hub 14/09/2017
Malcolm Rippeth’s superb lighting design goes into overdrive, particularly when the rebel hordes launch a full scale attack on the token forces of the occupying Roman army.
Anne Cox, Stage Review 14/09/2017
Credit must also go to Malcolm Rippeth for his lighting design, once more providing a fantastical palette - a particular highlight in that regard has to be Boudica's death scene, the vivid colours altering seamlessly as the belladonna takes hold.
Broadway World 13/09/2017

Pelléas et Mélisande

Lit with considerable imaginative skill by Malcolm Rippeth...
George Hall, The Stage 19/06/2017

Idomeneo

Malcolm Rippeth’s lighting designs also exploit the changing ambient conditions, gradually intensifying a contrast between warm, period lighting from candles inside the main container and industrial bleached-out starkness outside it. In true Enlightenment style, the ending brought a resolution of all-over brightness...
Flora Wilson, The Guardian 07/07/2016
Other elements of the production’s success are Malcolm Rippeth’s striking lighting effects...
Paul Levy, artsjournal.com 02/07/2016

In Parenthesis

David Pountney’s staging shows the experienced hand of a master in its compact, effective delivery, its use of light, shadow-play and projection.
Colin Clarke, Seen and Heard International 01/07/2016
The lighting design (Malcolm Rippeth) recreates the multifarious shifts of perspective in Jones’ text - which explores not just Ball’s experience but a collective consciousness - and the hallucinatory worlds into with the poet-dreamer Ball’s mind wanders. Through an oval aperture above the parabolic wooden trench, we peer into a pure azure sky which darkens to indigo. An apricot dawn deepens to blood-crimson, as Ball mounts the ship’s gang-plank and he imagines the fires of hell. As they near the front line, Ball envisions Lieutenant Jenkins as Christ, a shepherd leading his sheep through the wilderness. Rippeth’s disorientating shifts of colour and intensity create a mood that might be termed romantic surrealism, and they are match by Bell’s score...
Claire Seymour, Opera Today 29/06/2016
It all comes to life thanks to gorgeous lighting from Malcolm Rippeth.
Mike Smith, walesonline.co.uk 15/05/2016

A Midsummer Night's Dream

At last, Shakespeare’s Globe has seen the light! Literally. In her inaugural production as the Globe’s artistic director, Emma Rice has done away with the terrible flat floodlights previously judged as ‘authentic’ (as if), brought in state-of-the-art lighting, and has lit up this glorious space as never before.
Georgina Brown, Daily Mail 14/05/2016

Pleasure

The lighting design was excellent: appropriately dingy, the letters of the word “pleasure” were outlined in various neon shades and, in the final moments, burnt dazzlingly, transfiguring the toilet into a sacred space.
Bernard Hughes, The Arts Desk 13/05/2016
Nor should Malcolm Rippeth go unmentioned: his lighting designs loomed large throughout.
Paul Driver, The Sunday Times 08/05/2016

The Herbal Bed

...it's handsome, beautifully realised and impeccably presented. Dacre's attention to every detail – from Jonathan Fensom's wonderfully evocative set and Malcolm Rippeth's stunning lighting to the unobtrusive underscore of Valgeir Sigurdsson's pitch-perfect music – pays off superbly.
Michael Davies, Whatsonstage.com 15/02/2016
Malcolm Rippeth's lighting design frames scenes like a 17th century Dutch painting.
Tom Wicker, The Stage 10/02/2016

Snow White

A beautiful set by Phil Eddolls and lighting by Malcolm Rippeth which deftly responds to the mood and tone of the action...
David Whetstone, Evening Chronicle 23/10/2015

946

Hats off to Lez Brotherton's spare but effective design (sandbags, tractor and a propeller evoking time and place) and Malcolm Rippeth's lighting, particularly stunning during the play's true lump-in-throat moment when a soldier drowns.
Lee Trewhela, Cornish Guardian 06/08/2015
Lez Brotherston’s set is wondrous, with its aircraft propeller, huge slatted skies, galvanised troughs, and tractor. With Malcolm Rippeth’s dramatic lighting, the effects are atmospheric and intense, heightening the show’s unnerving ability to slip under the wire of our conscious selves.
Francesca Morrison, The Stage 31/07/2015

Giovanna d'Arco

...the young peasant girl Joan is first seen, assuming a medium blue cowl as if in imitation of the Virgin to whom she is praying, cleverly reflected on the side wall and in shadow on the rear set by the immensely effective Lighting Designer, Malcolm Rippeth.
Roderic Dunnett, Behind the Arras 04/08/2015
It looked gorgeous, though. A glowing cloudscape rolled above the two black marble walls of Russell Craig’s set; with imaginative lighting by Malcolm Rippeth plus a bit of smoke, the various tableaux were reflected back like oil paintings – tableaux being the operative word.
Richard Bratby, The Arts Desk 27/07/2015
The temperature of the tragedy is mirrored in Malcolm Rippeth’s lighting: rolling storm clouds, shrapnel and blood.
Anna Picard, The Times 21/07/2015
It was a joy, too, to see a production where the director, the veteran Elijah Moshinsky, knows exactly what he’s doing, crisply marshalling the eventful libretto’s opposing forces (...) through Russell Craig’s simple slats, inventively illuminated by Malcolm Rippeth.
Geoff Brown, The Spectator 18/07/2015
Elijah Moshinsky, well versed in Verdi production in eminent environs, made what he could of this basic set and a few props whilst being particularly aided by imaginative lighting.
Robert J Farr, Seen and Heard International 14/07/2015
Lighting by Malcolm Rippeth, alongside imaginative visual projections, give us a beautiful sense of windswept clouds, fierce storms, red skies and moonlit woods.
Charlotte Valori, Bachtrack 14/07/2015
The staging in an open topped mirrored walled set , which provides an effective “Wall of Death” vantage point for nuns, devils and onlookers, designed by Russell Craig, lends atmosphere, heightened by Malcolm Rippeth’s inspired lighting effects.
Philip Radcliffe, Manchester Theatre Awards 14/07/2015

The Coronation of Poppea

Malcolm Rippeth’s lighting design is yet another strength of this production; enhancing the experience with constant variety and subtlety, whilst always alive to the mood of the moment.
Martin Thomasson, British Theatre Guide 22/11/2014
The overall design is complemented with some innovative lighting effects by Malcolm Rippeth, showing the passage of time and the rising of the morning sun.
Richard Trinder, Yorkshire Times 04/10/2014

The Jacobin

Glowing in the gentle autumnal lighting design of Malcolm Rippeth, its scenes unfold, in front of a gauzy cloudscape, like pages from an old Czech picture book.
Hilary Finch, The Times 14/07/2014

Brief Encounter

Sharing star billing with Rice and her company of actor/singers is as extraordinary a design package as you’re likely to see this or any year: Neil Murray’s set and costumes, Malcolm Rippeth’s lighting, Simon Baker’s sound design, and above all Jon Driscoll and Gemma Carrington’s film design and projections
Steven Stanley, Stage Scene LA 21/02/2014
The crack creative team of designer Neil Murray, lighting designer Malcolm Rippeth, sound designer Simon Baker and projection and film designers Jon Driscoll and Gemma Carrington create illusions (and allusions) that are a performance of their own.
David Zampatti, The West Australian 29/11/2013
...augmented by subtle, sometimes hazy, lighting that enhances the mood and pinpoints moments of intense emotion.
Carol Wimmer, Stage Whispers 03/11/2013
...the set and Malcolm Rippeth’s lighting design will take your breath away.
Coral Drouyn, Stage Whispers 12/10/2013
... clever lighting that invites audience members to imagine a location rather than delineating it for them.
Greg Elliott, In Daily 16/09/2013
The result is a visually intriguing blend of stage and screen effects, which begins with the red curtain rising to reveal Laura (Adelaide performer Michelle Nightingale) standing on the platform, delectably side-lit, as if in rich Technicolor, turning to step through a movie screen to join her husband, Fred, in a monochrome film version of their suburban sitting room. [...] The strengths are in Neil Murray's design and evocative costumes, Malcolm Rippeth's lighting and Jon Driscoll and Gemma Carrington's stylish projection and film design.
Murray Bramwell, The Australian 16/09/2013
Malcolm Rippeth’s lighting design provides all the atmospheric touches to bring it to life.
Tony Busch, Adelaide Theatre Guide 16/09/2013
Malcolm Rippeth’s lighting design is instrumental in transporting us...
Fran Edwards, Glam Adelaide 15/09/2013
Malcolm Rippeth's lighting carves the actors out of the space with chiaroscuro effects, often casting a melancholy glow on the action.
David Barbour, Lighting and Sound America 08/10/2010
Neil Murray’s period sets and costumes, Malcolm Rippeth’s mood setting lighting, Simon Baker’s adept use of sound, and Gemma Carrington and Jon Driscoll’s powerful projections enhance this truly unique theatrical experience, one that should not be missed.
Harry Forbes, harryforbes.com 02/10/2010
...with superb lighting by Malcolm Rippeth, Brief Encounter is a brilliant theatrical adventure.
Richmond Shepard, totaltheatre.com 01/10/2010
The production’s unflaggingly inventive design team — Neil Murray (set and costumes), Malcolm Rippeth (lighting), Simon Baker (sound) and Jon Driscoll and Gemma Carrington (projections) — doesn’t just conjure up different locations with witty efficiency. It also subtly conveys the transformative, dissociative nature of passion,
Ben Brantley, The New York Times 28/09/2010
Malcolm Rippeth's lighting design shifts the mood starkly so that at times you feel as though you too are in a black and white movie.
Gwen Orel, The L Magazine 28/12/2009
They are aided by Malcolm Rippeth's precisely rendered lighting, which carves the people out of darkness, leaving plenty of space for the images. He also works some highly effective color-temperature contrasts, moving from warm, almost sepia-toned, incandescent looks to a colder feel that blends perfectly with the large-scale images.
David Barbour, Lighting and Sound America 09/12/2009
Malcolm Rippeth's painterly lights cleverly evoke the zeitgeist of the past.
Karen D'Souza, San Jose Mercury News 18/09/2009
...this sequence under Malcolm Rippeth's chiaroscuro lighting carries an unforgettable erotic charge.
Bob Verini, Variety 16/09/2009

Dark Road

Malcolm Rippeth’s lighting design is key to allowing the play to jump-cut between McArthur’s reality and her imagination.
Thom Dibdin, The Stage 30/09/2013
This is aided no end by Francis O’Connor’s complex yet effective set which itself twists, turns and transforms, and Malcolm Rippeth’s unnerving lighting design together with Philip Pinsky’s claustrophobic soundtrack.
Keith D, Edinburgh Spotlight 29/09/2013

Tristan and Yseult

Plus exciting lighting by Malcolm Rippeth, sonorous sound effects by Gregory Clarke, and a nifty set by Bill Mitchell.
Woody Weingarten, Marinscope Community Newspapers 03/12/2013
In short, high praise is deserved by everyone involved with the show, from the cast to Rice to set designer Bill Mitchell, lighting designer Malcolm Rippeth and sound designer Gregory Clarke.
Pat Craig, San Jose Mercury News 27/11/2013

Ours was the Fen Country

...hauntingly supportive lighting by Malcolm Rippeth...
Chris Grady, Whatsonstage.com 05/05/2013

The Threepenny Opera

The minimalist concert staging by Ted Huffman was nonetheless elegant, wherein all of the elements, like the lighting by Malcolm Rippeth, contributed to a propitious atmosphere.
Jean-Marcel Humbert, Forum Opera 28/02/2013

The Wild Bride

Bill Mitchell’s sepia set design, enhanced with lighting design by Malcolm Rippeth, is evocative of a yellowing old photograph.
Sarah Taylor Ellis, Stage and Cinema 05/03/2013
At once familiar and distant, the land we visit is deceptively simple and pleasantly intricate, with a single set piece made of ladders and branches reaching toward the heavens and expressive, almost painted lighting (owed to the gifts of Bill Mitchell and Malcom Rippeth respectively).
Jessica Cauttero, Brooklyn Exposed 01/03/2013
...the costumes, the set, and the lighting are whimsical and smart.
The New Yorker 28/02/2013
The lighting by Malcolm Rippeth is excellent and does the most to create the right magical atmosphere from the start.
Michael Giltz, Huffington Post 27/02/2013
Lighting and sound design and effects (Malcolm Rippeth and Simon Baker respectively) add magic and nuance to the show.
Linda Hodges, BroadwayWorld.com 09/12/2011
...seamless lighting by Malcolm Rippeth and sound by Simon Baker, enhance a viewer’s enjoyment.
Woody Weingarten, Marinscope Community Newspapers 08/12/2011
There’s nothing fancy about Bill Mitchell’s set – there’s an apple tree made of ladders and scaffolding – but it springs to life under Malcolm Rippeth’s lights, [and] it just goes to show you that with light to help paint stage pictures and intriguing humans inhabiting a captivating story, you don’t need bells and whistles.
Chad Jones, Theater Dogs - Bay Area Backstage 08/12/2011
The stage, too, is streaked with rainbow lighting. When the devil tempts the father with golden trinkets, the action plays out against intoxicating purple haze. Bright white lightning flashes rip through the devil’s most dastardly moments. And, when the girl is banished to the woods, the stage bleeds green.
Miriam Gillinson, Culture Wars 15/09/2011
Again, Malcolm Rippeth’s lights swell like exposed nerve-endings.
Matt Trueman, Carousel of Fantasies 15/09/2011
...magical lighting by Malcolm Rippeth...
Michael Coveney, Whatsonstage.com 13/09/2011

The Dead

There is considerable more lilt to one hypnotising effect of Malcolm Rippeth’s lights, and it is – literally – inspired. “Have you ever seen snow like it?” someone asks. No, never, is the only answer, and there the story seems beautifully transformed without having to make a drama out of it.
Peter Crawley, The Irish Times 14/12/2012

Rapunzel

...the sets and lighting were quite extraordinarily lovely. Phil Eddolls’s art nouveau gates morphed smoothly from park to prison and Malcolm Rippeth’s lighting created a ravishing Lotte Reiniger-style shadowplay – Rapunzel’s terrifying first haircut was the stuff of the very best nightmares.
Louise Levene, The Sunday Telegraph 07/04/2013
... there were loads of similarly haunting theatrical images, often facilitated by the leafy iron gates of Phil Eddolls’ sets and the lurking shadows of Malcolm Rippeth’s lighting design...
Jeffrey Gordon baker, londondance.com 03/04/2013
This theme is further enhanced with the intimate stage set-up where set designer Phill Eddolls and lighting designer Malcolm Rippeth use single colours such as twinkling purple lights or the perfunctory shade of red on the tips of the rampion to provide powerful tugs on the senses.
Tiffany Pritchard, londonist.com 31/03/2013
There is also a wonderful use of silhouette and shadow throughout, which creates powerful images, and is aesthetically stunning
James Moore, sosogay.com 30/03/2013
... the set and lighting were stunning...
Paul Clifford, The Shields Gazette 20/10/2012

Wah! Wah! Girls

But the real strength of the Wah! Wah! Girls musical is not the singing, dancing, or story. But rather, the often unsung lighting designer, Malcolm Rippeth. I have not seen a better choreographed, more intricate lighting show ever in a musical. Sometimes it felt like every single colour of the rainbow was used to light up the stage, but all at the right angles and directions to create an explosion of colours. I presume when drug users say they are tripping, this is what it must feel like.
Boon Koh, The London Insider 12/09/2012
The knowingly slapdash look of Khan's sets contrasts with Malcolm Rippeth's elaborate lighting plan, which adds excitement to the dance numbers, and Khan's beautiful and detailed costumes.
Karen Fricker, Variety 05/06/2012

The Seven Year Itch

BLANCHE McIntyre directs a delectable revival of George Axelrod’s comedy at the Playhouse, where the design, by James Cotterill, and lighting by Malcolm Rippeth, are simply superb.
Stella Taylor, Wiltshire Gazette & Herald 30/03/2012
The period stage set is brilliant, lighting and sound effects superb.
Brendan McCusker, Southern Daily Echo 20/03/2012
It is a lighting director’s dream, with flashbacks and imagined events all relying on some very clever effects. So, take a special bow, Malcolm Rippeth.
Christopher Wain, Salisbury Journal 19/03/2012
...the clever lighting design of Malcolm Rippeth [...] is used to great comic effect in a couple of stand-out sequences.
Simon Cole, Whatsonstage.com 16/03/2012

The Pitchfork Disney

...lit with atmospheric virtuosity by Malcolm Rippeth.
Michael Coveney, Whatsonstage.com 02/02/2012
Mood is modulated with Richard Hammarton’s eerie soundtrack and Malcolm Rippeth’s stark and subtle lighting.
John Nathan, Theatre News Online 02/02/2012

Little Women

Michael Barker-Caven directs and designs the excellent sound, with equally good lighting from Malcolm Rippeth.
Emer O'Kelly, Sunday Independent 20/11/2011

Persuasion

On a single, extra-ordinarily flexible and cleverly crafted set (great work from designer Libby Watson and lighting designer Malcolm Rippeth)...
Simon Cole, Whatsonstage.com 21/10/2011

Kin

Director Jeremy Herrin has polished this little gem to near perfection, and Bunny Christie’s design, lividly lit by Malcolm Rippeth, catches exactly the white-tiled misery of the institution, its corridors and noise outside, its bunk beds and smelly lockers and classrooms.
Michael Coveney, Whatsonstage.com 26/11/2010

Blood, Sweat and Tears

...enhanced in excellent lighting by Malcolm Rippeth.
Graham Watts, londondance.com 14/10/2010

Confessions of a Justified Sinner

Neil Murray’s set and costumes (complete with a wonderfully employed stage revolve) and Malcolm Rippeth’s lighting are brilliantly attuned to the tone of [the] production.
Mark Brown, Herald Scotland 29/10/2009
It’s all highly enjoyable and atmospheric [...] with Neil Murray’s rotating set of dark obelisks conspiring with Malcolm Rippeth’s beautiful lighting effects to cast long shadows across the stage.
Allan Radcliffe, The List 23/10/2009
Neil Murray and Malcolm Rippeth’s design for a set of dimly-lit revolving monoliths is highly effective.
Dave Pollock, Big Issue Scotland 22/10/2009

Edward Gant's Amazing Feats of Loneliness

The device of a travelling freak-show is not just a sweetener, though, but is fully enjoyed for its own sake, as evident in the design, fully maintained in the lighting of Malcolm Rippeth, the atmospheric soundtrack of composer Tom Mills and the succession of theatrical tricks involving disembodied heads, swishing scenic curtains, flickering footlights and copious squirtings and spurtings of various liquids and bodily fluids.
Michael Coveney, The Independent 02/04/2009
Steve Marmion’s production, beautifully designed by Tom Scutt and cunningly lit by Malcolm Rippeth, is full of bravura and unusual visual gags.
Michael Coveney, Whatsonstage.com 02/04/2009

Mary Rose

Technically, the production is hard to fault. In a world inured to the wizardry of computer effects, Cownie makes the most of some old-fashioned theatrical tricks, using gauzes, spooky music and effects (Philip Pinsky) and subtle lighting effects (Malcolm Rippeth).
Robert Dawson Scott, The Times 30/10/2008
The unsettling atmosphere this creates [...] is well-captured in Tony Cownie’s production, not least due to Malcolm Rippeth’s eerie lighting...
Yasmin Sulaiman, The List 30/10/2008

Six Characters in Search of an Author

It was one visually arresting coup (brilliant design/lighting/music and sound by Miriam Buether/Malcolm Rippeth/Adam Cork respectively) in an evening of many.
westendwhingers 11/10/2008
There’s some compelling lighting work from Malcolm Rippeth too.
Maxwell Cooter, Whatsonstage.com 09/07/2008

The Seven Deadly Sins

..,brilliantly lit by Malcolm Rippeth.
Andrew Clark, Financial Times 29/05/2007

The Little Prince

Neil Murray's production looks ravishing [...] while the effects of sunset and sunrise are so exquisitely realised you could simply sit and gaze at the lighting for hours.
Alfred Hickling, The Guardian 21/12/2006
...Malcolm Rippeth's gorgeous lighting design.
Christopher Collett, The Stage 06/12/2006

Faustus

...Malcolm Rippeth's subtle and vibrant lighting.
Philip Fisher, British Theatre Guide 26/10/2006
...clever lighting from Malcolm Rippeth.
MA, Official London Theatre Guide 26/10/2006

La Penumbra

The undisputed highlight is Liv Lorent’s La Penumbra - an exquisite miniature ballet, spiced with Latin spirit. Her three Mexican dancers are paragons of grace and symmetry, their performances enhanced by Malcolm Rippeth’s lighting design, which creates a backdrop out of their beautiful, oversized silhouettes.
Christopher Collett, The Stage 05/06/2006

Macbeth

Cruden’s design, which also includes some masterful use of curtains, is aided enormously by Malcolm Rippeth’s jaw-dropping lighting.
Dave Windass, The Stage 23/03/2005
The visual detail dazzles, from the blood that spurts from Banquo's wrists in red ribbon form to Malcolm Rippeth's lighting, all brilliant blue, Martian orange or blood red, but never obvious black.
Evening News 05/03/2005
This is a Macbeth that's stunning to behold, with Malcolm Rippeth's lighting achieving often breathtaking effects.
The Northern Echo 04/03/2005
Malcolm Rippeth's lighting is superb.
J D Atkinson, British Theatre Guide 04/03/2005

Little Sweet Thing

...much aided by Malcolm Rippeth’s emphatic lighting...
Anne Morley-Priestman, Whatsonstage.com 09/02/2005

Vodou Nation

...the effect of some of the layered backdrops with the atmospheric lighting is superb.
Jo Cummins, Jersey Evening Post 30/06/2004
The costumes and lighting effects are stunning.
Kevin Berry, The Stage 17/06/2004

Off Camera

Malcolm Rippeth's lighting is gently understated.
Kevin Berry, The Stage 10/07/2003