© 2019 Sam Waddington
 

MAGGOT MOON

UNICORN THEATRE

 

"Powerful lighting"

The Stage

OTHER PEOPLE'S MONEY

SOUTHWARK PLAYHOUSE

 

"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"

The Reviews Hub

 

"...A grippingly fast pace throughout, which is enabled by Sam Waddington’s lighting design"

The Upcoming

"Sam Waddington’s glamorously dramatic lighting design"

BritishTheatre,com

"Very effective lighting"

British Theatre Guide

NICE WORK IF YOU CAN GET IT

UPSTAIRS AT THE GATEHOUSE

 

"Everything is handsomely lit by Sam Waddington"

BritishTheatre.com

WASTED

SOUTHWARK PLAYHOUSE

 

"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."

WhatsOnStage

"Matt Daw and Sam Waddington’s lighting design is particularly effective and makes limitless possibilities arise in the small space"

Musical Theatre Review

"Matt Daw and Sam Waddington’s clever lighting adds both location and nuance to the show"

Jonathan Baz/My Theatre Mates

"The lighting design by Matt Daw and Sam Waddington is focused and gives the already energetic vibe the last spur of stamina."

Broadway World

NOT NOW, BERNARD

UNICORN THEATRE

 

"Sam Waddington’s lighting design skilfully moves the action between the two locations – home and garden – that share Natalie Pryce’s colourful set"

The Stage

"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

RETURN TO THE FORBIDDEN PLANET

UPSTAIRS AT THE GATEHOUSE

 

"Lit glamorously by Sam Waddington"

BritishTheatre.com

"Magnificently lit by Sam Waddington"

remotegoat

THE COUNTRY WIFE

SOUTHWARK PLAYHOUSE

 

"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.”

The Observer

THE CHERRY ORCHARD

THE UNION THEATRE

 

"Enhanced by an atmospheric lighting design by Sam Waddington"

Pocket Size Theatre

SEESAW

UNICORN THEATRE

 

"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"

The Guardian

TOP HAT

UPSTAIRS AT THE GATEHOUSE

 

"Sam Waddington’s lighting design is a lesson in how to light a space of its kind, a delightfully lit production"

Pocket Size Theatre

"Lit impeccably"

BritishTheatre.com

"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"

theatrereviews.design

LUCKY STIFF

THE UNION THEATRE

 

"Glamorising the emptiness, pools and shafts of wonderful light from Sam Waddington give character and mood to the otherwise deserted terrain"

BritishTheatre.com

"Angular and dynamic lighting... (designed perfectly by Sam Waddington)"

The 730 Review

35MM: A MUSICAL EXHIBITION

THE OTHER PALACE STUDIO

 

"Sam Waddington is here to light it all with his trademark skill"

BritishTheatre.com

SUPERHERO

SOUTHWARK PLAYHOUSE

 

"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."

Broadway World

"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."

BritishTheatre.com

"Cinematically lit by Sam Waddington, who manages to create a Marvel-worthy apparition."

Exeunt Magazine

"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."

The Weekender

"The constant change of setting and flashbacks could prove a challenge. However, through clever direction and a clever lighting plot, this was overcome easily."

Musical Theatre Musings

"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."

Live Theatre UK

THE SORROWS OF SATAN

TRISTAN BATES THEATRE

 

"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."

BritishTheatre.com

 

"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."

Live Theatre UK

ANYTHING GOES

UPSTAIRS AT THE GATEHOUSE

 

"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

 

"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."

theatrereviews.design

THE GREAT DIVIDE

FINBOROUGH THEATRE

"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."

Jewish Renaissance

THE PAST IS A TATTOOED SAILOR

OLD RED LION THEATRE

"The Lighting Design (Sam Waddington) was perfect. Expertly transporting us from interior drawing room to sunny glades while maintaining visibility of actors' faces. Enough dynamic variations to keep it interesting."

theatrereviews.design

RAZ

UK TOUR

"Faultless sound and light cues further enhance."

British Theatre Guide 

 

"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."

North West End 

LEGALLY BLONDE

UPSTAIRS AT THE GATEHOUSE

"...all given full value by Sam Waddington – Lighting Designer."

Ham&High 

THOROUGHLY MODERN MILLIE

LANDOR THEATRE

"Sam Waddington lights proceedings with a sure eye and real skill, so that shadows dance and hover in an appropristely romantic/spooky way depending upon the scene."

BritishTheatre.com 

"Both the set and period-but-greyish costumes are given brush-strokes of class in Sam Waddington's richly toned lighting design."

Londonist 

"Together with a striking yet simple Art Deco set design by Andrew Riley, and Sam Waddington’s suitably unfussy lighting, which complements the muted colours of the set and the characters’ costumes wonderfully, all of this creates a hugely enjoyable evening."

HISKIND