DELUXE (National Tour, BBC Four)

With just one camera, it’s beautifully shot and framed... great lighting too, from Andrew Ellis

The Guardian

DELUXE (National Tour, BBC Four)

Bradley 4:18 follows the eponymous archetypical character, who’s awake at 4:18 am. Andrew Ellis’ moody lighting is tinged with blue, setting the work in the darkest hour of the night.

Culture Whisper

DELUXE (National Tour, BBC Four)

Andrew Ellis' lighting is dark, with soft chiaroscuro illumination effects

The Up Coming

Murder in the Cathedral (Oxford, 2019)

My favourite aspect has to be Andrew Ellis’ brilliantly ethereal, very appropriate lighting design which becomes almost integral to the storytelling, and helps to make the most of the gorgeous church setting.

The Theatre Tourist

Murder in the Cathedral (Southwark, 2019)

Andrew Ellis’s design makes full use of the architectural possibilities that the cathedral offers as well as ensuring that the narrative is carefully framed.

Last Minute Theatre Tickets

Murder in the Cathedral (Southwark, 2019)

The lighting design deserves special mention, the occasional blood red filters lending themselves marvellously well to the overall atmosphere.

GirlOutside

Derriere on a G String (Lillian Baylis Theatre, 2019)

Andrew Ellis, no stranger to lighting dance performance, generated a design that exceeded any comedy sketch show you’re ever likely to see and called on many techniques from other theatre genres.

Theatre Reviews Design

BARE : A Pop Opera (Vaults,2019)

The company offer cohesive and compelling performances which - with Stuart Rogers's energetic and dynamic choreography and Andrew Ellis's lighting design - paint a terrifying picture of contemporary teenage life.

Broadway World

BARE : A Pop Opera (Vaults,2019)

Stuart Rogers’ choreography was perfectly complemented by Andrew Ellis' lighting

The Spy in the Stalls

BARE : A Pop Opera (Vaults,2019)

...accompanied by Stuart Rogers’ imaginative choreography, which makes good use of the sprawling stage and works to good effect with Andrew Ellis’s dramatic lighting

From Page to Stage

BARE : A Pop Opera (Vaults,2019)

Superbly lit by the ingenious and talented Andrew Ellis who never fails to deliver a range of tableaux matched into the mood of the scene

Theatre Reviews Design

BARE : A Pop Opera (Vaults,2019)

Andrew Ellis' lighting is effective. The angelic murals on the wall are lit up at crucial times and the contrasts between cool and warm are well done.

My Theatre Mates

Them/Us (Edinburgh Festival Fringe, 2019)

A special mention should be given to the original music (Charlotte Harding) and beautifully crafted lighting design (Andrew Ellis), which wowed me throughout the show

Arthur's Seat

Them/Us (Vaudeville Theatre, 2019)

Ellis, Nunn & Trevitt collaborate to light it with theatrical enthusiasm, creating exciting reaches of depth and dimension.

British Theatre

Them/Us (Sadler's Wells, 2019)

The lighting is immaculately created by Andrew Ellis ... an important and commendable element

The Times Literary Supplement

Them/Us (Sadler's Wells, 2019)

Andrew Ellis’s prismatic lighting reinforces sudden changes of pace and mood.

Financial Times

Them/Us (Sadler's Wells, 2019)

Andrew Ellis, the lighting designer contributes occasional intense scenes of colour which are beautiful.

LondonTheatre1

Them/Us (Exeter Northcott Theatre, 2019)

Andrew Ellis has created a masterly use of light. Subtle, sparing, atmospheric and unfussy – it complements the dance inordinately well.

Cormac Richards Reviews

Them/Us (Edinburgh Festival Theatre, 2019)

Lighting designer Andrew Ellis must be commended for the stunning colours and visuals in this piece.

The Skinny

Them/Us (Edinburgh Festival Theatre, 2019)

Katherine Watt's cemetery-grey costumes haunt under Andrew Ellis's low melancholy lighting

The List

Young Men (Joyce Theater, 2019)

Combined with the spectacular lighting (designed by Andrew Ellis), the film comes to life on stage, and, more significantly, the film’s atmosphere comes to life as well. Ellis creates a living, breathing “fog” that exceeds in quality anything I can recall in a stage presentation. The sun-dappled presentation of a bucolic field is translated, again seamlessly, to sun-dappled light that bathes the live individual characters.

Critical Dance

Aladdin (Catford Broadway, 2018)

A marvellous, magical traditional pantomime, strongly performed and impressively designed

The Stage

Young Men (Wilton's Music Hall, 2018)

The stage is cloaked in mystery—dark and broodingly lit by Andrew Ellis, often clogged with smoke that drifts out into the auditorium, while dancers emerge flying out of the white spotlight only to disappear into the abyss. Film projections of trees climb and creep above stage as well as bodies sending giant shadows out and up the peeling atmospheric walls of the music hall.

British Theatre Guide

Young Men (Wilton's Music Hall, 2018)

The stage is gloomily lit by Andrew Ellis, and often plunged into smoke which wafts onto the stalls, as it did over the battlefields, Wilton’s Music Hall providing unusual closeness between audience and performers. With its unadorned, slightly dilapidated look, it is a perfect setting for this work.

Culture Whisper

The Distance You Have Come (Cockpit Theatre, 2018)

The lighting by Andrew Ellis was stunning, transforming this small space into a gorgeous picturesque portrait in front of the audience.

Pocketsize Theatre

The Distance You Have Come (Cockpit Theatre, 2018)

The staging of the works is done unobtrusively, even ellipitcally, with unfussy direction by the author, and lovely, elegant lighting by Andrew Ellis, and simple and tasteful set and costume design by Simon Daw.

British Theatre . Com

The Distance You Have Come (Cockpit Theatre, 2018)

This small park is utterly transformed by incredible lighting design from Andrew Ellis, producing wonderful tones and stark contrasts between light and shadow, thoroughly in keeping with the overall themes it results in a very beautiful design

Theatre Weekly

The Distance You Have Come (Cockpit Theatre, 2018)

The lighting, designed by Andrew Ellis, is brilliantly effective at highlighting key moments and emotions. The use of spots together with beautifully hung decorative lights is fantastic

London Theatre 1

The Distance You Have Come (Cockpit Theatre, 2018)

Simon Daw’s set is simple and very effective, and evocative lighting by Andrew Ellis frames each scene for great emotional impact

The Upcoming

Four Seasons / Remembrance (Peacock Theatre, 2018)

The slickly staged programme kicked off with Jenna Lee’s The Four Seasons set to Max Richter’s recomposition of Vivaldi with stylish costumes by April Dalton. Andrew Ellis’s polychromatic lighting reminds us which season is which

Financial Times

Four Seasons / Remembrance (Peacock Theatre, 2018)

Excellent choreography by Jenna Lee, stunning costumes by April Dalton & very clever use of lighting by Andrew Ellis

London Theatre 1

Four Seasons / Remembrance (Peacock Theatre, 2018)

Each season is clearly signposted, not only by the choreography that integrates the pas de deux with strong full ensemble sections, but also by Andrew Ellis’ vivid lighting

Culture Whisper

Four Seasons / Remembrance (Peacock Theatre, 2018)

Andrew Ellis' lighting design... runs from the turquoise and purple of dawning spring through to balmy purple and orange for summer, harvest red for autumn and blue for the frosty beauty of winter

Broadway World

Four Seasons / Remembrance (Peacock Theatre, 2018)

In April Dalton's fabulous costumes, with Andrew Ellis’s lighting ringing the seasonal changes, this is a joyous mood piece

British Theatre Guide

Eugenius (The Other Palace 2018)

One element of this production which I cannot stop ranting and raving about to anyone who will listen is Andrew Ellis’ sensational lighting design... Ellis’ vision as a lighting designer is truly incredible and a wonder to behold.

Everything Theatre

Eugenius (The Other Palace 2018)

Andrew Ellis’ stunning lighting design amplifies the small stage of The Other Palace’s auditorium with brilliant purple beams of light coming from every direction. The fairy light cascade ceiling also adds an element of magical fantasy to the performance space before the show has even started

London Theatre 1

Eugenius (The Other Palace 2018)

Ian Talbot makes a comic virtue out of the budgetary constraints (think wobbly model spaceships and wonderfully tatty frightwigs) although the superb sound design and Andrew Ellis' rock stadium lighting come across as anything but cheap

WhatsOnStage

Eugenius (The Other Palace 2018)

Andrew Ellis’ lighting and Gareth Owen's sound designs lend a wonderfully camp sci-fi flavour to proceedings

Ticketmaster

Flashdance the Musical (Theatre Royal, Brighton 2018)

Gantries, seats, beds, screens and neon-stripped joints, lit by Andrew Ellis who peacocks everything with a laser-keen colour-range that doesn’t assault the eyes. It dazzles, never blinds.

FringeReview

Flashdance the Musical (Theatre Royal, Brighton 2018)

Andrew Ellis's lighting design is dramatic, with the bright blue, pink and orange hues we so often associate with the 80s.

Broadway World

Flashdance the Musical (Edinburgh Playhouse 2018)

Out of the shadows came tales seeming universal in nature, with Andrew Ellis’s lighting perfectly highlighting the dark undercurrents and rock’n’roll ambition of the ensemble of characters.

Broadwaybaby

Four Seasons & Other Modern Ballets (Lilian Baylis Studio 2017)

The gently shifting hues of Andrew Ellis’ lighting design provide the perfect complement.

Exeunt Magazine

Time in Motion (Sadler's Wells 2017)

Blue skies, sunlight, a touch of frost, shadows, stepping stones lighting the way—Andrew Ellis’s lighting design is superb ... Kenneth MacLeod’s projection design—fireplace with three flying ducks melting away into a land of snowflakes—is magically lit by Ellis.

British Theatre Guide

Time in Motion (Crescent Theatre 2017)

There’s some excellent lighting by Andrew Ellis too, especially the curtains of light that sweep down.

Seeingdance.com

Aladdin (Theatr Clwyd 2016)

The rich golds and reds are an absolute joy – in fact Adrian Gee’s design is thoroughly striking throughout, enhanced skilfully by Andrew Ellis’ lighting design.

The Reviews Hub

Aladdin (Theatr Clwyd 2016)

Lighting by Andrew Ellis was superb, very inventive and worked extremely well. Very slick ... perfect timing.

Northwestend.com

Quint:Essential (New English Ballet Theatre, Peacock Theatre 2016)

There is real depth to this choreography ... enhanced by Andrew Ellis’s outstanding lighting: dozens of glass globes are suspended across the stage, each able to change position and to emit flashes or steady light of any colour or brightness as well as reflecting all the other lights. This allowed dancers to be lit very closely, making it clear at each moment which were the “real” couple while creating emotional resonance and some exquisite visual compositions. 

Bachtrack.com

Quint:Essential (New English Ballet Theatre, Peacock Theatre 2016)

George Williamson’s Strangers ... boasted an enchanting design of dangling lights by Andrew Ellis.

Financial Times

Quint:Essential (New English Ballet Theatre, Peacock Theatre 2016)

Andrew Ellis’ lighting designs were a real highlight of the evening in all pieces

Seeingdance.com

"Eugenius" (London Palladium 2016)

Credit to Andrew Ellis whose lighting designs throughout were consistently stunning.

Jonathan Baz Reviews

Andrew Ellis is definitely one of the UK’s young lighting designers to note.            

Theatrereviews.design

The lighting design by Andrew Ellis was consistently inventive and sympathetic to the individual numbers

Live Theatre UK

Credit to the brilliant lighting design from Andrew Ellis

Musicaltheatrereview.com

A dazzling combination of light, sound and movement

Seen and Heard International

Atmospheric lighting by Andrew Ellis combined with Rachel Portman’s closely accented musical score deliver a fast-paced story that gives space and energy for the lively characters to develop.

Balletnews.co.uk

... spectral grey film projections of city streets and uncompromising lighting by Andrew Ellis

Financial Times

Lit with noir-ish style and ferocity by Andrew Ellis 

The Arts Desk

Suffused in Andrew Ellis's golden glow toffee-coloured bodies melt and fuse. 

British Theatre Guide

Simple and effective lighting designs by Andrew Ellis and Michael Hulls go a long way to creating the required atmosphere

The Reviews Hub