Sam Waddington
Training: Royal Central School of Speech and Drama
Designs include: Maggot Moon, The Polar Bears Go, Go, Go!, Not Now, Bernard, Seesaw, Big Love (Unicorn Theatre), Much Ado About Nothing (Cambridge Arts Theatre), It Never Happened (Arts Ed), small (Soho Theatre), Bones, Into the Woods (RCSSD), Other People's Money, Wasted (BroadwayWorld UK Awards Nomination for Best Lighting Design), The Country Wife, Superhero (Southwark Playhouse), Big Aftermath of a Small Disclosure(Actors Touring Company), Our Town, Spring Storm (The North Wall Theatre), 42ND Street, Nice Work If You Can Get It, Return to the Forbidden Planet, Top Hat, Anything Goes, Legally Blonde (Upstairs at the Gatehouse), The Cherry Orchard, Lucky Stiff (The Union Theatre), 35mm: A Musical Exhibition (The Other Palace), The World Goes Round, Rhythm of Life (St James Theatre), Skate Hard, Turn Left (Battersea Arts Centre), Thoroughly Modern Millie (Landor Theatre), Joy (Theatre Royal Stratford East), RAZ (UK Tour), The Sorrows of Satan (Tristan Bates Theatre), Birthday Suit, The Past is a Tattooed Sailor (Old Red Lion Theatre), The Great Divide (Finborough Theatre)
As Associate/Assistant Lighting Designer: For Hugh Vanstone: A Christmas Carol (Lyceum Theatre, Broadway/The Old Vic), The Caretaker, The Master Builder (The Old Vic), For Hugh Vanstone/Natasha Katz: Mary Poppins (Prince Edward Theatre), For Tim Lutkin: Life of Pi (Sheffield Crucible), For Tim Lutkin/Hugh Vanstone: Back to the Future (Manchester Opera House), Present Laughter (The Old Vic), For Bruno Poet: The Merry Widow (ENO), Dusty (UK Tour), For David W Kidd: The Velveteen Rabbit (Unicorn Theatre/Seattle Children's Theatre), For Jon Clark: The Lorax(The Old Vic), Tipping the Velvet (Lyric Hammersmith), For Matt Daw: Rules for Living (English Touring Theatre), 28 Days Later (Secret Cinema), For Tim Deiling: American Idiot (Arts Theatre)
Previous productions
| Show name | Type | Venue/Company | Role | Creative Team | Opened |
|---|---|---|---|---|---|
| Back to the Future | Musical |
Manchester Opera House Colin Ingram Ltd |
Assistant Lighting Designer |
Lighting designer: Hugh Vanstone/Tim Lutkin Director: John Rando Set designer: Tim Hatley |
Feb 2020 |
| 42nd Street | Musical |
Upstairs at the Gatehouse Ovation |
Lighting Designer |
Director: John Plews Set designer: Emily Bestow |
Dec 2019 |
| A Christmas Carol | Theatre |
The Old Vic The Old Vic |
Associate Lighting Designer |
Lighting designer: Hugh Vanstone Director: Matthew Warchus Set designer: Rob Howell |
Nov 2019 |
| A Christmas Carol | Theatre | Lyceum Theatre, Broadway | Associate Lighting Designer |
Lighting designer: Hugh Vanstone Director: Matthew Warchus Set designer: Rob Howell |
Nov 2019 |
| Mary Poppins | Musical |
Prince Edward Theatre Cameron Makintosh Ltd |
Assistant Lighting Designer |
Lighting designer: Hugh Vanstone/Natasha Katz Director: Richard Eyre Set designer: Bob Crowley |
Nov 2019 |
| Maggot Moon | Theatre |
Unicorn Theatre Unicorn Theatre |
Lighting Designer |
Director: Jesse Jones Set designer: Lucy Sierra |
Sep 2019 |
| small | Theatre |
Soho Theatre Oxford School of Drama |
Lighting Designer |
Director: Alice Malin |
Aug 2019 |
| Fleabag | Theatre |
Wyndham's Theatre Fiery Angel |
Lighting Programmer |
Lighting designer: Elliot Griggs Director: Vicky Jones Set designer: Holly Pigott |
Aug 2019 |
| Bones | Theatre |
Royal Central School of Speech and Drama Royal Central School of Speech and Drama |
Lighting Designer |
Director: Martin Wylde/Diane Alison-Mitchell Set designer: Sammy Dowson |
Jul 2019 |
| Life of Pi | Theatre |
Sheffield Crucible Sheffield Theatres |
Associate Lighting Designer |
Lighting designer: Tim Lutkin Director: Max Webster Set designer: Tim Hatley |
Jun 2019 |
| Present Laughter | Theatre |
The Old Vic The Old Vic |
Associate Lighting Designer |
Lighting designer: Tim Lutkin & Hugh Vanstone Director: Matthew Warchus Set designer: Rob Howell |
Jun 2019 |
| Into The Woods | Musical |
Royal Central School of Speech and Drama Royal Central School of Speech and Drama |
Lighting Designer |
Director: Adam Lenson Set designer: Libby Todd |
May 2019 |
| It Never Happened | Theatre |
Arts Ed Arts Ed |
Lighting Designer |
Director: Alex Thorpe Set designer: Anna Reid |
May 2019 |
| Other People’s Money | Theatre |
Southwark Playhouse Blue Touch Paper |
Lighting Designer |
Director: Katharine Farmer Set designer: Emily Leonard |
Apr 2019 |
| The Polar Bears Go, Go, Go! | Theatre |
Unicorn Theatre Unicorn Theatre |
Lighting Designer |
Director: Lee Lyford Set designer: Claire Halleran |
Mar 2019 |
| The Merry Widow | Opera |
London Coliseum English National Opera |
Associate Lighting Designer |
Lighting designer: Bruno Poet Director: Max Webster Set designer: Ben Stones |
Mar 2019 |
| Much Ado about Nothing | Theatre | Cambridge Arts Theatre | Lighting Designer |
Director: Richard Beecham Set designer: Nancy Surman |
Jan 2019 |
| Nice Work If You Can Get It | Musical |
Upstairs at the Gatehouse Ovation |
Lighting Designer |
Director: John Plews Set designer: Pollyanna Elston |
Dec 2018 |
| A Christmas Carol | Theatre |
The Old Vic The Old Vic |
Associate Lighting Designer |
Lighting designer: Hugh Vanstone Director: Matthew Warchus Set designer: Rob Howell |
Nov 2018 |
| The Velveteen Rabbit | Theatre |
Seattle Children's Theatre The Unicorn Theatre |
Associate Lighting Designer |
Lighting designer: David W Kidd Director: Purni Morell Set designer: James Button |
Nov 2018 |
| Skate Hard, Turn Left | Theatre | Battersea Arts Centre | Lighting Designer |
Director: Jemima James Set designer: Ruth Sutcliffe |
Jul 2017, Oct 2018 |
| Wasted | Musical |
Southwark Playhouse Oli Sones Limited |
Lighting Designer |
Director: Adam Lenson Set designer: Libby Todd |
Sep 2018 |
| Big Aftermath of a Small Disclosure | Theatre |
Summerhall Actors Touring Company |
Lighting Designer |
Director: Alice Malin Set designer: Ruth Hall |
Aug 2018 |
| DUSTY | Musical |
Theatre Royal, Bath, then touring Eleanor Lloyd Productions |
Associate Lighting Designer |
Lighting designer: Bruno Poet Director: Maria Friedman Set designer: Tom Pye |
Jun 2018 |
| Our Town | Theatre |
The North Wall Theatre Oxford School of Drama |
Lighting Designer |
Director: Alice Malin Set designer: Georgia De Grey |
Jun 2018 |
| Not Now, Bernard | Theatre |
Unicorn Theatre Unicorn Theatre |
Lighting Designer |
Director: Sarah Argent Set designer: Natalie Pryce |
May 2018 |
| Return to the Forbidden Planet | Musical |
Upstairs at the Gatehouse Ovation |
Lighting Designer |
Director: John Plews Set designer: Amy Yardley |
May 2018 |
| The Country Wife | Theatre |
Southwark Playhouse Morphic Graffiti |
Lighting Designer |
Director: Luke Fredericks Set designer: Stewart Charlesworth |
Mar 2018 |
| The Cherry Orchard | Theatre |
The Union Theatre The Phil Willmott Company |
Lighting Designer |
Director: Phil Willmott Set designer: Justin Williams |
Mar 2018 |
| A Midsummer Night's Dream | Theatre |
Morley Theatre Company Morley Theatre Company |
Lighting Designer |
Director: Lisa Cagnacci |
Feb 2018 |
| Seesaw | Theatre |
Unicorn Theatre Unicorn Theatre |
Lighting Designer |
Director: Sarah Argent Set designer: Verity Quinn |
Jan 2018 |
| Top Hat | Musical |
Upstairs at the Gatehouse Ovation |
Lighting Designer |
Director: John Plews Set designer: Emily Bestow |
Dec 2017 |
| The Velveteen Rabbit | Theatre | Unicorn Theatre | Associate Lighting Designer |
Lighting designer: David W Kidd Director: Purni Morell Set designer: James Button |
Mar 2017, Nov 2017 |
| Joy | Theatre |
Gerry's, Theatre Royal Stratford East clamour |
Lighting Designer |
Director: Melanie Fullbrook Set designer: Carla Goodman |
Oct 2017 |
| Lucky Stiff | Musical |
The Union Theatre The Union Theatre |
Lighting Designer |
Director: Paul Callen Set designer: Reuben Speed |
Sep 2017 |
| 35mm: A Musical Exhibition | Musical | The Other Palace | Lighting Designer |
Director: Adam Lenson Set designer: Justin Williams |
Sep 2017 |
| Rules for Living | Theatre |
Royal & Derngate Theatre, then touring English Touring Theatre, Royal & Derngate and Rose Theatre Kingston |
Associate Lighting Designer |
Lighting designer: Matt Daw Director: Simon Godwin Set designer: Lily Arnold |
Sep 2017 |
| Treating Odette | Theatre |
Upstairs at the Gatehouse Ovation |
Lighting Designer |
Director: John Plews Set designer: Emily Bestow |
Jul 2017 |
| Skate Hard, Turn Left | Theatre | Battersea Arts Centre | Lighting Designer |
Director: Jemima James Set designer: Ruth Sutcliffe |
Jul 2017, Oct 2018 |
| Superhero | Musical |
Southwark Playhouse Tim Johanson Productions |
Lighting Designer |
Director: Adam Lenson Set designer: Georgia De Grey |
Jun 2017 |
| Spring Storm | Theatre |
The North Wall Theatre Oxford School of Drama |
Lighting Designer |
Director: Alice Malin Set designer: Georgia De Grey |
Jun 2017 |
| La Boheme | Opera |
Iford Arts Iford Arts |
Associate Lighting Designer |
Lighting designer: Christopher Nairne Director: Christopher Cowell Set designer: Eleanor Wdowski |
May 2017 |
| Big Love | Theatre |
Unicorn Theatre Unicorn Young Company |
Lighting Designer |
Director: Purni Morell/Christian Roe |
Apr 2017 |
| The Velveteen Rabbit | Theatre | Unicorn Theatre | Associate Lighting Designer |
Lighting designer: David W Kidd Director: Purni Morell Set designer: James Button |
Mar 2017, Nov 2017 |
| The Sorrows of Satan | Musical |
Tristan Bates Theatre Fisher Taylor-Gaunt Productions |
Lighting Designer |
Director: Adam Lenson Set designer: Michael Conley |
Feb 2017 |
| Daddy's Girl | Theatre |
Brick Hall, The Vaults Three Streets Productions |
Lighting Designer |
Director: Alice Malin |
Jan 2017 |
| Birthday Suit | Theatre | Old Red Lion Theatre | Lighting Designer |
Director: Alice Malin Set designer: Georgia De Grey |
Jan 2017 |
| Anything Goes | Musical | Upstairs at the Gatehouse | Lighting Designer |
Director: John Plews Set designer: Emily Bestow |
Dec 2016 |
| Legally Blonde | Musical | Watford Palace Theatre | Lighting Designer |
Director: Sam Gaines |
Nov 2016 |
| Wasted | Musical | West Yorkshire Playhouse Courtyard Theatre | Associate Lighting Designer |
Lighting designer: Mat Daw Director: Adam Lenson Set designer: Bec Chippendale |
Oct 2016 |
| Battleface | Theatre | Bush Theatre | Associate Lighting Designer |
Lighting designer: Simon Gethin Thomas Director: Joe Murphy Set designer: Olivia Altaras |
Oct 2016 |
| One Cold Dark Night | Theatre | Bush Theatre | Associate Lighting Designer |
Lighting designer: Simon Gethin Thomas Director: Omar Elerian Set designer: Olivia Altaras |
Sep 2016 |
| The Great Divide | Theatre | Finborough Theatre | Lighting Designer |
Director: Rory McGregor Set designer: Sebastian Noel |
Sep 2016 |
| The Past is a Tattooed Sailor | Theatre | Old Red Lion Theatre | Lighting Designer |
Director: Jeffrey Mayhew Set designer: Rosie Mayhew |
Aug 2016 |
| Richard III | Theatre | Swan Theatre/Leicester Square Theatre | Lighting Designer |
Director: Imogen Beech Set designer: Evelyn Hunter |
Jun 2016, Jul 2016 |
| Richard III | Theatre | Swan Theatre/Leicester Square Theatre | Lighting Designer |
Director: Imogen Beech Set designer: Evelyn Hunter |
Jun 2016, Jul 2016 |
| Wallis | Theatre | Upstairs at the Gatehouse | Lighting Designer |
Director: John Plews Set designer: Emily Bestow |
May 2016 |
| RAZ | Theatre | The Lowry, then touring | Lighting Designer |
Director: Anthony Banks |
May 2016 |
| Secret Cinema presents 28 Days Later | Environmental | Secret Cinema | Assistant Lighting Designer |
Lighting designer: Matt Daw Director: Fabien Riggall Set designer: Tim McQuillen Wright |
Apr 2016 |
| The Caretaker | Theatre | The Old Vic | Assistant Lighting Designer |
Lighting designer: Hugh Vanstone Director: Matthew Warchus Set designer: Rob Howell |
Mar 2016 |
| Sweet Charity | Musical | Embassy Theatre | Lighting Designer |
Director: Anthony Banks Set designer: Andrew D Edwards |
Feb 2016 |
| The World Goes Round | Concert | St James Theatre Studio | Lighting Designer |
Director: Kris Rawlinson |
Feb 2016 |
| The Master Builder | Theatre | The Old Vic | Assistant Lighting Designer |
Lighting designer: Hugh Vanstone Director: Matthew Warchus Set designer: Rob Howell |
Jan 2016 |
| Legally Blonde | Musical | Upstairs at the Gatehouse | Lighting Designer |
Director: John Plews Set designer: Isobel Power Smith |
Dec 2015 |
| The Lorax | Musical | The Old Vic | Assistant Lighting Designer |
Lighting designer: Jon Clark Director: Max Webster Set designer: Rob Howell |
Dec 2015 |
| Singin' in the Rain | Musical | Watford Palace Theatre | Associate Lighting Designer |
Lighting designer: Nick Moran Director: Nikki Scott |
Nov 2015 |
| The Clockmaker's Daughter in Concert | Concert | St James Theatre Studio | Lighting Designer |
Director: Robert McWhir |
Nov 2015 |
| Tipping The Velvet | Theatre | Lyric Hammersmith/Edinburgh Lyceum | Assistant Lighting Designer |
Lighting designer: Jon Clark Director: Lyndsey Turner Set designer: Lizzie Clachan |
Sep 2015, Oct 2015 |
| La Ronde | Theatre | Etcetera Theatre | Lighting Designer |
Director: Jenny Quayle Set designer: Milda Samsonaite |
Sep 2015 |
| Tipping The Velvet | Theatre | Lyric Hammersmith/Edinburgh Lyceum | Assistant Lighting Designer |
Lighting designer: Jon Clark Director: Lyndsey Turner Set designer: Lizzie Clachan |
Sep 2015, Oct 2015 |
| Thoroughly Modern Millie | Musical | Landor Theatre | Lighting Designer |
Director: Matthew Illife Set designer: Andrew Riley |
Aug 2015 |
| The 3 Tryers | Theatre | Landor Theatre | Lighting Designer |
Director: Paul Nicholas Dyke |
Aug 2015 |
| An Evening with Tim McArthur | Concert | Landor Theatre | Lighting Designer | Jul 2015 | |
| American Idiot | Musical | Arts Theatre | Assistant Lighting Designer |
Lighting designer: Tim Deiling Director: Racky Plews Set designer: Sara Perks |
Jul 2015 |
| Rhythm of Life | Theatre | St James Theatre Studio | Lighting Designer |
Director: Robert McWhir |
Jul 2015 |
| Red the Wolf Slayer | Musical | Webber Douglas Studio | Lighting Designer |
Director: Sherrill Gow Set designer: Hannah Wastnidge |
Jun 2015 |
| The Clockmaker's Daughter | Musical | Landor Theatre | Assistant Lighting Designer |
Lighting designer: Richard Lambert Director: Robert McWhir Set designer: David Shields |
May 2015 |
| In the Dead of Night | Theatre | Landor Theatre | Assistant Lighting Designer |
Lighting designer: Richard Lambert Director: Claudio Macor Set designer: Paul Nicholas Dyke |
Apr 2015 |
| West Side Story | Musical | Embassy Theatre | Associate Lighting Designer |
Lighting designer: Nick Moran Director: Ed Hughes Set designer: Sara Perks |
Mar 2015 |
42nd Street
Sam Waddington’s lighting is almost a character in its own right, coming into its own for the Shadow Waltz number but also assisting in rapid scene changes
David Guest, The Reviews Hub 22/12/2019
Maggot Moon
Other People’s Money
...A grippingly fast pace throughout, which is enabled by Sam Waddington’s lighting design
Jonathan Marshall, The Upcoming 24/04/2019
Scenes flow quickly into one another with a cinematic speed using Sam Waddington’s lighting design and John Leonard’s sound to denote changes in time and location
Maryam Philpott, The Reviews Hub 24/04/2019
Nice Work If You Can Get It
Wasted
Joe Bunker's terrific band are as much part of the show as Libby Todd's starkly striking set or Matt Daw and Sam Waddington's exciting lighting.
Alun Hood, Whats On Stage 17/09/2018
Matt Daw and Sam Waddington’s lighting design is particularly effective and makes limitless possibilities arise in the small space
Lani Calvert, Musical Theatre Review 15/09/2018
Matt Daw and Sam Waddington’s clever lighting adds both location and nuance to the show
Jonathan Baz, Jonathan Baz 14/09/2018
The lighting design by Matt Daw and Sam Waddington is focused and gives the already energetic vibe the last spur of stamina
Cindy Marcolina, Broadway World 13/09/2018
Not Now, Bernard
The silent heroes of this production however are Owen Crouch’s sound design, and Sam Waddington’s skillful lighting...the use of light to change rooms, as well as enhance the bright colours in the garden, make this show all the more charming - all whilst conveying a very subtle message for parents.
Curious Mum, Curious Mum 07/06/2018
Sam Waddington’s lighting design skilfully moves the action between the two locations – home and garden – that share Natalie Pryce’s colourful set
Jo Caird, The Stage 04/06/2018
Return to the Forbidden Planet
The Country Wife
Any aside by a character – this production makes you realise how many there are – is accompanied by a dipping of light. It’s an impressive technical feat by lighting designer Sam Waddington; it also repunctuates the play, giving it the flicker of film. It becomes not only a series of dialogues between characters but a series of internal discussions. With a witty apogee when one aside, frozen in light, consists only of a gasp.
Susannah Clapp, The Observer 15/04/2018
The Cherry Orchard
Enhanced by an atmospheric lighting design by Sam Waddington
Nick Wayne, Pocket Size Theatre 19/03/2018
Seesaw
The faltering confrontations between the boy and girl – accented by Sam Waddington’s emotional lighting states – powerfully reflect the extreme highs and lows of young friendship
Miriam Gillinson, The Guardian 05/02/2018
Top Hat
The lighting ebbs and flows with the music & action, and guides us nicely along through all of the different locations the show demands. Never missing the musical nuances or the costume bling, Sam shows an experienced hand on the lighting
Richard Lambert, TheatreReviews.Design 16/12/2017
Sam Waddington’s lighting design is a lesson in how to light a space of its kind, a delightfully lit production
Mark Swale, Pocket Size Theatre 16/12/2017
Lucky Stiff
Glamorising the emptiness, pools and shafts of wonderful light from Sam Waddington give character and mood to the otherwise deserted terrain
Julian Eaves, BritishTheatre.com 01/10/2017
Angular and dynamic lighting... (designed perfectly by Sam Waddington)
Colm Molloy, The 730 Review 30/09/2017
35mm: A Musical Exhibition
Sam Waddington is here to light it all with his trademark skill
Julian Eaves, BritishTheatre.com 25/09/2017
Superhero
"Usually details like the lighting and sound are good enough to support the performance but not quite good enough to stand out as their own craft. In this case the lighting was as original and exciting as the rest of the musical. Many of the scene changes and mood settings relied almost completely on the lighting. Sam Waddington, lighting designer, demonstrated a level of craft and skill that matched the efforts from all involved."
Christian Fisher, The Weekender 06/07/2017
"Lenson’s triumphant direction of a fiendishly complicated web of strands in the story, punctuated with near-perfection by Waddington’s 300 or so lighting cues, is a miracle of stagecraft."
Julian Eaves, BritishTheatre.com 04/07/2017
"Cinematically lit by Sam Waddington, who manages to create a Marvel-worthy apparition."
Francesca Peschier, Exeunt Magazine 03/07/2017
"Sam Waddington’s lighting design is crisp and clear, giving definition between states of past and present and taking us into new worlds at the push of a button."
Max May, Live Theatre UK 03/07/2017
"The constant change of setting and flashbacks could prove a challenge. However, through clever direction and a clever lighting plot, this was overcome easily."
Sarah McPartlan, Musical Theatre Musings 01/07/2017
"Director Adam Lenson's work, combined with lighting designer Sam Waddington and sound designer Andy Hinton, is what makes the musical run smoothly and clearly through the various time jumps. Via interesting use of lighting and a slight echo, Colin travels from his memories with his family to the courtroom."
Cindy Marcolina, Broadway World 01/07/2017
The Sorrows of Satan
Sam Waddington – that upcoming genius of the theatre – lights it all with his customary brilliance and economy, and is especially adept in opening up the different ‘layers’ of the script.
Julian Eaves, BritishTheatre.com 24/02/2017
Sam Waddington’s lighting designs are kind and responsive, allowing in the second act for the quick switching of states and the opening up of a more performative space.
Max May, Live Theatre UK 23/02/2017
Anything Goes
The lighting design by Sam Waddington and musical direction by Dan Glover also add to the high standard of professionalism of this production.
Musical Theatre Review 20/12/2016
The lighting (Sam Waddington) is very sympathetic to the piece. It conveys location and time of day whilst maintaining the delicate balance between visibility and atmosphere. Expertly achieved
Richard Lambert, TheatreReviews.Design 16/12/2016
The Great Divide
Light and darkness (controlled expertly by Sam Waddington) play their part, whether for beauty and atmosphere or to establish the grinding repetition of factory work and the horror of fire and smoke.
Judi Herman, Jewish Renaissance 10/09/2016
The Past is a Tattooed Sailor
The Lighting Design (Sam Waddington) was perfect. Expertly transporting us from interior drawing room to sunny glades while maintaining visibility of actor’s faces. Enough dynamic variations to keep it interesting."
Richard Lambert, TheatreReviews.Design 13/08/2016
RAZ
The lighting, music and sound effects were all incredible, successfully setting the scene of where Shane was. Along with adding incredibly humorous elements such as location changes and the downing of drinks with perfect timing
Ellie Close, North West End 16/05/2016
Legally Blonde
Thoroughly Modern Millie
Sam Waddington lights proceedings with a sure eye and real skill, so that shadows dance and hover in an appropriately romantic/spooky way depending upon the scene
Stephen Collins, BritishTheatre.com 27/08/2015
Both the set and period-but-greyish costumes are given brush-strokes of class in Sam Waddington's richly toned lighting design.
Johnny Fox, Londonist 27/08/2015
Theatre:
- International
- West End
- Commercial Tour
- Regional (Main House)
- Regional (Studio)
- Small Scale Touring
- Fringe / Pub Theatre
- Touring relights
Musical:
- West End
- Commercial Tour
- Regional (Main House)
- Regional (Studio)
- Small Scale / Fringe
- Pantomime
Opera:
- Large scale
- 'Country House'
| Contact method | Details |
|---|---|
| Mobile phone |
07791 795277 |
| Email address | |
| Website | www.samwaddington.co.uk |
Appearing here soon... a collection of articles from the Focus magazine archives.
