Photograph from The Turn of the Screw - lighting design by Malcolm Rippeth
Ed Lyon (Peter Quint) | Photographer: Johan Persson
Photograph from The Turn of the Screw - lighting design by Malcolm Rippeth
Sophie Bevan (Governess), Leo Jemison (Miles), Ed Lyon (Peter Quint) | Photographer: Johan Persson
Photograph from The Turn of the Screw - lighting design by Malcolm Rippeth
Sophie Bevan (Governess), Adrianna Forbes-Dorant (Flora) | Photographer: John Snelling
Photograph from The Turn of the Screw - lighting design by Malcolm Rippeth
Ed Lyon (Peter Quint) and Leo Jemison (Miles) | Photographer: John Snelling

The Turn of the Screw

by
with Malcolm Rippeth as Lighting Designer

Director:

Set designer:

Dates: 
01/07/2019 to 19/07/2019

Show type:

Designer's notes: 
Nominated for the 2019 Knight of Illumination Award for Opera

Production photographs

Photograph from The Turn of the Screw - lighting design by Malcolm Rippeth
Photograph from The Turn of the Screw - lighting design by Malcolm Rippeth
Photograph from The Turn of the Screw - lighting design by Malcolm Rippeth
Photograph from The Turn of the Screw - lighting design by Malcolm Rippeth
Photograph from The Turn of the Screw - lighting design by Malcolm Rippeth
Photograph from The Turn of the Screw - lighting design by Malcolm Rippeth
Photograph from The Turn of the Screw - lighting design by Malcolm Rippeth
Photograph from The Turn of the Screw - lighting design by Malcolm Rippeth

Press quotes

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... continue reading
Mark Pullinger, Bachtrack 27/12/2019
...the atmospheric lighting of Malcolm Rippeth.
Tim Hughes, Oxford Times 11/07/2019
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... continue reading
Alexandra Coghlan, The Spectator 13/07/2019
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
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
...unsettling lighting by Malcolm Rippeth...
Claudia Pritchard, Culture Whisper 02/07/2019
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
...Muller and lighting designer Malcolm Rippeth ratchet up the chill factor with shadows, reflections and candlelight.
Mark Pullinger, Bachtrack 02/07/2019
...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