"Taking place entirely in the bar, Lee Newby’s refreshingly naturalistic set requires the piece to rely heavily on Nic Farman’s atmospheric lighting and a deck of knock out performances."

- A Younger Theatre -

"Then there is John Partridge (of Eastender’s fame) as Buddy’s soulful opening number, ‘Some Kind of Paradise’, which begins under a smoky spotlight, beautifully imagined by lighting designer Nic Farman"

- Reviews Hub -

"You feel as if you are peering through a window into a real 70s bar, aided by Nic Farman’s vigorous lighting design, engendering the required smoky, sepia-toned atmosphere."

- Ask The Ushers -

"Set designer Lee Newby and lighting designer Nic Farman have done a fantastic job of bringing to life the ambience and atmosphere of the bar: the aesthetics are evocative and highly realistic; the lighting transitions are so subtle and in tune with the performance that, at one point, it takes me a good ten seconds to consciously notice that it’s the disco ball creating the dappled, almost starlight, effect across audience and stage."

- Young-Perspective -

"Lighting by Nic Farman is subtly multi-layered and ominous, with gaslights, searchlights, fire and utilitarian factory lamps."

- The Stage -

"David Woodhead’s set is striking. Featuring a bare bones carcass of a house, piles of rubble and a distant outline of London itself, it feels as if this set embodies the characters of the play: still standing, but a little charred around the edges and surrounded by the broken pieces of their former solid lives. Nic Farman’s lighting makes wonderful images with this backdrop and manages to create scene changes with deceptively simple adjustments."

- Edinburgh Guide -

"The different stages of WWII are skilfully rendered by designer David Woodhead and Nic Farman’s gloomy lighting helps to evoke the ravages of Blitz-era London."

- British Theatre Guide -

"Set designer David Woodhead’s rubble heaps; meanwhile the skeleton of a bombed house and Nic Farman’s dark and atmospheric lighting evoke the mood of the Blitz."

- Time & Leisure -

"The deep blues of Nic Farman’s lighting highlight the torn bricks and mortar of David Woodhead’s design work, lending a melancholy feel to the show's atmosphere. "

- The Skinny -

"The lighting (Nic Farman), sound (Max Pappenheim) and stage transitions are to be lauded also. Some recent productions I’ve seen have forced the lightng and sound into the show, whereas it’s evident from the start of The Night Watch, that these elements were discussed and debated alongside the artist’s production as they worked in sync and really complemented the story. In darker periods such as the prison scenes and medical situations, Nic Farman and Max Pappenheim’s work exist in complete harmony and transport you fully into the scene, the way theatre should be created."

- Halfway to Nowhere -

"As mentioned, there is a silk-like finesse to much of Alastair Whatley’s absorbing production. Particularly Nic Farman’s lighting design which is extraordinarily subtle in its use of shadow and shade"

- Reviewsphere -

"The production looks fantastic, with excellent period detail in hair and clothing. David Woodhead's beautiful design feels very authentically austere, with a ghostly, blown-out skeleton of a house set behind piles of rubble. This is complimented by Nic Farman's distinctive lighting, with a subtle gaslight contrasted by stark searchlights and bright torches."

- Broadway World -

"The production looks fantastic, with excellent period detail in hair and clothing. David Woodhead's beautiful design feels very authentically austere, with a ghostly, blown-out skeleton of a house set behind piles of rubble. This is complimented by Nic Farman's distinctive lighting, with a subtle gaslight contrasted by stark searchlights and bright torches."

- Herald Scotland - 

"The most inspired elements of the staging are the designs. Diego Pitarch's gloriously grimy abandoned farmhouse and vivid costumes, and the ingenious lighting of Nic Farman which gives everyone a deathly pallor and bathes everything in a queasy, monochromatic glow, in tribute to the black-and-white of the original movie, are brilliant."

- What's On Stage -

"In a loving nod to the film’s look, this entire production is staged in black and white. Yes, you read that right, Diego Pitarch’s design sees everything from the cabin set, to the costumes, wigs and make up, presented in glorious monochrome. Even Nic Farman’s exquisite lighting design sticks solely to white light.  It’s striking and bold, and just a touch disconcerting."

- Theatre Weekly -

"The highlight of the show is its impressive staging and design. Aiming to recall the aesthetic of the original black-and-white film, designer Diego Pitarch has used a palate of black, white and greys to re-create the Pennsylvanian farmhouse, complemented by Nic Farman’s lighting design."

- British Theatre -

"But what this production most excels at is the visuals and the sound effects. Diego Pitarch’s wonderful monochrome set design, adds to the bleak atmosphere while paying tribute to the original black and white 1968 film. Meanwhile, Samuel West’s soundscape design does add a much needed chill down the spine that can be lacking elsewhere, while Nic Farman’s lighting design is also brilliantly effective throughout."

- London  Love Culture -

"Nic Farman’s over-saturated lighting along with the cartoonish hues of Gabriella Slade’s set conjure some of the sharp corners of Quentin Blake’s iconic illustrations of both of those authors."

- The Stage -

"Nik Corrall's costumes ground the story in the Middle East and Nic Farman's lighting design uses warm tones to depict dramatic sunsets as a backdrop to the emotional love story."

- Broadway World -

"This is a beautiful and well-crafted show; rich in atmosphere that is heightened further by Nic Farman’s sumptuous lighting."

- Spy In The Stalls -

"And finally, full marks to lighting designer Nic Farman who creates impressively appropriate atmospheres for both New York and Beirut in the early 20th century."

- Musical Theatre Review -

"Frames of pressed butterflies adorn the walls of the Victorian school classroom in this show inspired by Frank Wedekind’s 1891 play. In Sheppard’s production, which over two hours cleverly employs lighting to move the story from the 19th into the 21st century..." 

- The Guardian -

"Luke Sheppard’s fluidly coordinated, persuasive production, which fits Gabriella Slade’s sumptuously realised, stiflingly oppressive classroom set like a glove and is enlivened by clever lighting touches by Nic Farman, won’t disappoint Spring Awakening’s ardent fans." 

- The Stage -

"It’s not as if the young cast can’t commit to that kind of tension and sexuality, they show it brilliantly and fluidly throughout Tom Jackson Greaves’ hyper-kinetic choreography which when lit through Nic Farman’s atmospheric lighting design brings an almost hypnotic sense to the stage." 

- The Reviews Hub -

"Elsewhere both Gabriella Slade and Nic Farman have come up trumps with their contrasting repressed periodic set and modern lighting designs. Slade’s Victorian classroom makes full use of Hope Mill’s intimate space plus there’s a lovely use of pressed butterfly pictures adorning the walls (highlighted at points by Farman’s lighting) which subtly echoes the ‘metamorphosis’ the teens are going through." 

- Manchester’s Finest -

"And Nic Farman’s lighting actually manages to transform the small Hope Mill stage into a neon-lit, concert-like atmosphere at times."

- Mancunian Matters -

"The set and costume design from Gabriella Slade, paired perfectly with some terrifically atmospheric lighting from Nic Farman, gives a stunning look to the whole production."

- British Theatre Guide -

"Nic Farmans lighting is also creative, real and honest with deep enhancements of the set and an understanding for how light can translate narratively to this deceptive show."

- Andrew Exeter -

"Set Designer Gabriella Slade’s stark yet somehow beautifully distressed classroom feels as it if has grown right out of the walls of the theatre, and the furniture is manoeuvred expertly in the hands of Sheppard; accentuated by the brilliant work and surprise ingenuity of Lightning Designer Nic Farman. This is a piece of theatre with extremely high production values, and and even higher standard of creative detail from its designers."

- West End Wilma -

"The set is dressed with several atmospheric 19th century objects, which help to set the musical firmly in the past, and contrast nicely with Nic Farman's vibrant lighting design, which is undoubtedly a standout element of the production. Serene yet affronting shades of blue and neon white light which illuminates the stage ethereally. "

- Talk Stagey To Me -

"Excellent atmospheric set of a dusty old schoolhouse that wraps around the audience (Gabriella Slade); astonishingly good, cutting-edge lighting (Nic Farman)."

- Manchester Theatre Awards -

"Fitting the theatre’s aesthetic like a glove, designer Gabriella Slade has created a visually remarkable set that transports the audience into the lives of these teenagers, as we sit right in on the action. This is enhanced by Nic Farman’s exquisite lighting that intensifies the emotion with rich colour and sudden fleeting darkness."

- Sincerely Amy -

"Anne Simon's sensitive and compelling production is augmented with highly effective, shadowy lighting from Nic Farman."

- Act Drop -

"Director Anne Simon, who has worked extensively in Europe, handles the material with authority and imagination, aided hugely by Luxembourger designer Marie-Luce Theis’ spacious, wooden-beamed set, suggesting both attic and railway station, atmospherically lit by Nic Farman."

- Jewish Renaissance -

"The lighting (Nic Farman) creates an appropriate atmosphere..."

- London Theatre 1 -

"James Button’s candy-coloured, spangled sets and imaginative costumes look fabulous under Nic Farman’s lighting, the giant is undeniably impressive…"

- The Stage -

"The candy-coloured sets, whacky costumes, effective lighting and obligatory sprinkling of panto glitter all add to the fun - and a remarkably impressive giant is the crowning glory."

- Southern Daily Echo -

"The staging is superb, with a colourful and ingenious set and excellent lighting design."

- Scene One Blue -

"McBryde's production is lively, with John Bulleid's illusions aided by Nic Farman's splendid lighting."

- Whats On Stage -

"Ryan McBryde’s production has a certain ghoulish, gaslight charm, assisted by Lily Arnold’s richly decorated, rolling-stock set, Nic Farman’s pantomime-villain lighting and Rebecca Applin’s throwback thriller score."

- The Stage -

"The lighting (Nic Farman) is suitably atmospheric – the train journeys are suggested purely by sound and light."

- Reviews Hub -

"Ryan McBride’s production has a looming, dark set by Lily Arnold, cleverly lit by Nic Farman to allow John Bulleid’s magic to make its impact."

- Anne At The Theatre -