HISTORY OF FALLING THINGS

Striking visuals by Tim Hope emphasise the beauty of their relationship and their almost childish belief and trust in each other. Lighting (Christopher Page) and sound (Alistair Wallace) accentuate the subtlety of the direction and the naturalness of the exceptional acting.

The set design by Anna Gardiner and the lighting by Christopher Page are efficient and adaptable.

Christopher Page’s lighting is simple, clearly and cleverly marking Robin and Jacqui’s worlds side-by-side, as well as opening out moments with bursts of golden and coloured light.

RIDE / FOURPLAY

The atmospheres and ‘intrigues’ of the text revealed are gently, surreally counterpointed with some beautiful ‘theatrical’ lighting states created by Christopher Page

— Kevin Jackson, KJ’s Theatre diary

Ride is almost entirely naturalistic with touches of the surreal, using subtle shifts in Christopher Page’s lighting and Alistair Wallace’s sound to conjure up the exact feeling of a rainy summer afternoon in Sydney’s inner west.

— Ben Neutze, Daily Review

The production is free of frills, but ambience is beautifully manufactured by its team of designers. Alistair Wallace’s sound and Christopher Page’s lights rarely steal our attention but the mood in the theatre is consistently rich with sentimentality and a gentle electricity, derived from a very sensitive approach to the show’s quiet aesthetics.

— Suzy Wrong, Suzy Goes See

THE WITCHES

Edmonds pulls the whole thing off with the aid of Christopher Pages brilliant, old-fashioned lighting design, a fog machine, and a couple of props.

Lucas Jervies’ clear direction and Christopher Page’s focused lighting design assist in ensuring that the audience is always aware of where we are and which character we are encountering at all times.

Christopher Page’s lighting does much of the storytelling. It’s brilliantly unsubtle and is key to some of the best gags in the show, including one hilarious, but gentle moment of audience participation.

GHOST STORIES

Lighting designer Christopher Page, sound designer Lana Kristensen, production designer Phil Shearer, have worked closely together to produce a strong and striking environment

— Jeannette Delamoir, Aussie Theatre

His design team (Phil Shearer on production design, Christopher Page on lights, and Lana Kristensen on sound) does an excellent job of fulfilling its brief of creating a relentless air of skin-crawling foreboding that keeps tensions high, and when appropriate, shock us with powerful effects that literally make us jump.

— Suzy Wrong, Suzy Goes See

GREAT EXPECTATIONS

Costuming, staging, lighting and a subtle soundscape just complemented the outstanding performances by passionate actors

Harrison makes good use of this atmospheric venue, placing the action on and around a tilted wooden “O”. Enhanced by stage smoke, lighting designer Christopher Page’s contribution is notably strong.

HIS MOTHER’S VOICE

Sound designer James Colla and lighting designer Christopher Page, use creative vision to creative an atmosphere that beats with the changing rhythms of the action.

Both, the simple design of the space for the many locations of the story telling and the costume needs are well thought-through and enhanced with the effective Lighting Design by Christopher Page.

DER GELBE STERN

Lighting design for the Festival was precise and versatile, playing to the tone of the different songs with ease, and these design elements of costume and lights with Fishman’s performance had some moments of stunning visual images.

AS YOU LIKE IT

The intriguing single flower is a delight. Set designer and lighting designer have succeeded in making a mainly empty single space do for the court and the forest of Arden in a number of attractive ways.

— Diana Simmonds, Stage Noise

BOXING DAY

The ceiling is hung with beautiful bulbs, like that of a Christmas tree, but for us, a twinkling design by Christopher Page.

4:12

Hugh O’Connor’s set design of black mirrored walls literally and metaphorically reflects the voyeuristic thematics of the play and Christopher Page’s lighting design is pin point sharp, infusing blackouts with a flash pan effect that suggests the speed, suddenness and irretrievability of the tendrils of technology.

DANGEROUS LENSES

Christopher Page’s lighting works well

The simple setting is lit beautifully by Chris Page

LOVE FIELDS

…the stark brightness of lights from Christopher Page add to the frenzied tension of events and even when the stage is still or characters don’t speak, we understand that the buzz of circumstance is ever-present.

WINDMILL BABY

The Lighting Design by Christopher Page is sympathetic and atmospheric

— Kevin Jackson, Kevin Jackson’s Theatre Diary

Other elements that make this an affecting work include the seamless, unobtrusive lighting design by Christopher Page, which potently creates a strong sense of place.

Christopher Page’s lighting is gloriously atmospheric and the depiction of the rotating windmill is fabulous. When a helicopter flies overhead at one point in the show, we can hear, feel and smell it.

— Lynne Lancaster, ArtsHub

A MIDSUMMER NIGHT’S DREAM

…with the simple set transforming for a variety of locations with the help of some atmospheric lighting designed by Chris Page.

— Vivienne Egan, Time Out Sydney

But just when it feels like the characters have had the rug pulled out from under them too many times, the production sounds a truthful note as Titania and Oberon realise that, for them, this party ended long ago. It’s a lovely passage that owes much to the lighting designer, Chris Page.

— Jason Blake, Sydney Morning Herald

BETRAYAL

The play’s design team ­ Anna Gardiner and Christopher Page displayed the skills of magicians by moving the play through nine scenes in ninety minutes within the confines of the intimate Ensemble stage.

— Margaret Helman / Sydney Scoop / Arts & Entertainment guide

Kilmurry’s direction, Anna Gardiner’s compact design, Christopher Page’s impressive lighting design create the world for the three young performers to work in.

— DAVID KARY / Syd Arts Guide

THE DARK ROOM

Christopher Page’s lighting design and Pete Goodwin’s ominous soundscape enhance the drama by adding another layer of tension and atmosphere to this potent and compelling modern work.

Christopher Page’s lighting is in sombre sympathy

…and Christopher Page’s sterile and jittery lighting design helps to underline the nervousness of the characters (and the audience).

— Joan Beal, ArtsHub

Designer Michael Hankin and lighting designer Christopher Page have transformed the Downstairs space into a classic motel room that is dark both in its dreary décor as well as in its tenants’ inadvertently shared histories.

— Diana Simmonds, Stage Noise

BLOOD BROTHERS

Christopher Page’s lighting is noteworthy in that does not draw attention to the lights, just to the action.

— Simon Parris, Man in Chair

Christopher Page’s lighting is suitably moody.

— Jacqueline Bublitz, Broadway World

the lighting is big and bold by Christopher Page, adding a sense of mysticism to the story.

— Cassie Tongue, Aussie Theatre

Christopher Page’s lighting conveys transitions and the passage of time effectively as well as pointing up the characters’ emotions and their moments of isolation and misery.

— Michael Brindley, Stage Whispers

Focus is clear throughout, ably assisted by Christopher Page’s lighting and Anna Gardiner’s foldout style set design

— Reuben Liversidge, ArtsHub

Christopher Page’s gorgeous lighting is breathtaking and enhances the production significantly, as does Anna Gardiner’s functional set and costume design

— The Theatre Nerd

JUDITH

There are very effective set and lighting designs, in this tiny intimate space, by Michael Hankin and Christopher Page.

— John McCallum, The Australian

Aided by a simple, effective design by Michael Hankin, beautiful lighting by Christopher Page

The first thing you notice […] is Michael Hankin’s design. […] They dominate the space, providing some challenges – but also glorious opportunities for Christopher Page’s lighting.

— Henry Florence, The Brag

Moodily lit by Chris Page and housed in a tent made of rope (designer Michael Hankin), Judith looks handsome, and uses this tricky space quite well.

— Jason Blake, Sydney Morning Herald

The Bondi Pavilion stage continues to prove challenging to designers and directors alike: […] lit by Chris Page, it’s an interesting, effective abode for Holofernes and his visitors.