Constellations

Theatr Clwyd

“Jonathan Chan’s immaculately timed lighting changes” - Chris Bartlett - The Stage

“Jonathan Chan's lighting design enhances the staging with atmospheric lighting, creating a cosmic feel that signifies multiple universes” - Vicky Humphreys - Adventures in Theatreland

“Jonathan Chan’s lighting design further enhances this with subtle shifts that guide the audience through the parallel worlds” - Clare Boswell - The Reviews Hub

“One’s curiosity is immediately piqued as the unusual setting is slowly revealed as what is essentially a light installation (inspired work by set and costume designer Hayley Grindle and lighting designer Jonathan Chan) which cleverly conveys a sense of both an infinite galaxy and a heavenly vista.” - Michael Green - Cheshire Live

Foam

Finborough Theatre

“Jonathan Chan lights it in a teal, subaqueous glow, which brightens to a harsh white halogen glare; at times, hot red or magenta bleed in through the cloudy windows.” - Dave Fargnoli - The Stage

“Nitin Parmer’s stunning set design works in harmony with Jonathan Chan’s gorgeously sensual lighting.” - Livvy Perrett - West End Best Friend

“Inventive white light (“Everyone looks different in bathroom light” as Gabriel says) is by Jonathan Chan” - John Groves - LondonTheatre1

Kim’s Convenience

Park Theatre

“Jonathan Chan’s lighting design imitates the incessant glare of halogen lights, a steady white glow snapping to bright, neon tones of green and purple during a touching flashback sequence in which Appa and wife Umma (a prim, harried Namju Go) choose names for both their business and the baby they are expecting.” - Dave Fargnoli - The Stage

“Jonathan Chan’s lighting design beautifully brings the set to life” - Daz Gale - All That Dazzles

“Jonathan Chan’s lighting design manages to conjure both the strip store lighting of the corner store, as well as shifting to create memory sequences. It plays both with extreme naturalism and a nod to the opposite, and is beautifully thought through.” - Auriol Reddaway - Spy in the Stalls

“Jonathan Chan’s lighting brings the set to life, veering between dramatic and softer lighting.” - Bronagh - Theatre & Tonic

She Stoops to Conquer

Orange Tree Theatre

“Anett Black and Neil Irish's beguiling set design — sensitively lit by Jonathan Chan — turns the Orange Tree's intimate, in-the-round space into a well-worn rustic lounge” - Clive Davis - The Times

The Flea

The Yard Theatre

“Combined with atmospheric yet subtle sound and lighting design (Josh Anio Grigg and Jonathan Chan respectively) the staging is very versatile, and apt for exploring the play’s sprawling plot.” - Anna Studsgarth - Spy in the Stalls

“supported by contemporary and beautifully melodramatic lighting design (Jonathan Chan)” - Grace Spencer - The Reviews Hub

Candy

Park Theatre

“Jonathan Chan’s lighting design is a standout and is hugely effective in illuminating the many topics brought to life in Candy.” - Josh Maughan - Broadway World UK

“Jonathan Chan's lighting design is glamorous. The delicate shifts transport us through time and across location with ease and clarity. The subtle soft changes highlight when we are meeting Candy versus Billy with great effect.” - Sebastian Calver - London Theatre Reviews

“A sympathetic and understated lighting design by Jonathan Chan.” - Peter Yates - LondonTheatre1

“Jonathan Chan’s lighting only adds to this, bringing us from brightly lit cabaret settings with Will addressing us directly to the most intimate of moments, feeling as if it is just you and Will in the room, and nobody else.” - Raphael Kohn - All That Dazzles

Lady Dealer

Paines Plough Roundabout

“Charly describes her life as a house on an eroding cliff, poised for calamity. As Jonathan Chan’s lighting douses her in deep shadow, Davies beautifully layers bounce and misery.” - David Jays - The Guardian

Duck

Arcola Theatre

“Featuring a reduced but well conceived set by Maariyah Sharjil and a dazzling lighting design by Jonathan Chan” - Guillermo Nazara - First Night Magazine

Grindr: The Opera

Union Theatre

“Combined with innovative lighting by Jonathan Chan and dynamic set pieces, the staging adds a captivating visual element to the production.” - Lisamarie Lamb - Theatre Weekly

“The clever use of lighting and projections adds depth to the performance, effectively transporting the audience into the “otherworldly” realm of Grindr.” - Alan Stuart Malin - North West End

“Lighting by Jonathan Chan was effective and precise, enhancing the mood.” - Derek Benfield - UK Theatre Web

Snowflakes

Park Theatre

“Lighting by Jonathan Chan is uncomplicated and deeply effective, making use of blackouts to allow for suspenseful reveals and a harsh increase in lighting to bring a clinical element to one particularly harrowing scene.” - Sam Waite - All That Dazzles

“A thrilleresque sound design and Jonathan Chan's lights swoop in with moody brushstrokes that accompany the action and manipulate its reception.” - Cindy Marcolina - Broadway World UK

“Lighting Designer, Jonathan Chan makes symbolic but subtle moves” - Stewart Who? - North West End UK

“There’s superb stage design from Alys Whitehead with a sparse set utilising Jonathan Chan’s lighting to shift focus and dynamics as the tension ebbs and flows.” - Paul Joyce - Ithankyoutheatre

Pussycat in Memory of Darkness

Finborough Theatre

“Very imaginative design, again in white is by Ola Klos, assisted by the subtle yet imaginative lighting of Jonathan Chan, which includes video images of the people of Ukraine and their devastated country which help bring the story to life.” - John Groves - LondonTheatre1

“Polly Creed’s clean, composed direction, and the punctuation of Jonathan Chan’s lighting design guide the audience through the rolling changes of scenery, as well as the hopping between memory and present day.” - Livvy Perrett - West End Best Friend

Get Happy

Pleasance Theatre

“This is also helped by some of the most consistently tight lighting (Jonathan Chan) and sound (Anna Short, Annie May Fletcher) cues I think I have ever seen in a show, and are all deftly harnessed by director Piers Black to help lift this production far beyond the confines of the compact stage.” - Simon J. Webb - Jack the Lad

In the Net

Jermyn Street Theatre

“Jonathan Chan’s rich lighting design creates lovely transitions from dawn to dusk, with washes of midnight blue and warm syrupy amber. During scenes depicting hostile interviews at Immigration Control, we are plunged into darkness, broken only by a single bulb suspended menacingly overhead.” - Dave Fargnoli - The Stage

“Lighting by Jonathan Chan is spectacular and the second half of the performance is transformed by intersecting lines of light representing the final eruv.” - Sara West - Everything Theatre

“There’s potential Offies here though. One outstanding feature is the lighting. Jonathan Chan’s play of turquoise and rose at key moments in Ingrid Hu’s poetic set is dazzling. But wait for the tracery of lights that make the latter moments of the play as visually compelling in a small theatre as I’ve ever seen. It’s genuinely stunning, aided by Daniel Denton’s video design. Hu’s set helps too. With an upstage play of branches like a Chinese print of bleak beauty, the foreground’s panels of  pearly opalescence glow like rice paper: all semi-transparent doors and lintels, a shield of gossamer-squares and labyrinth of dim gleams.” - Simon Jenner - Fringe Review UK

“Plaudits to Jonathan Chan who created the ever growing “net” of the play’s title through a stunning lighting design.” - Srabani Sen - London Pub Theatres

“I have to mention the lighting design because as this play reaches its surreal conclusion, Jonathan Chan’s lighting mixes with multiple coloured strands of thread to create the impression that we’re all suspended high above ground fighting alongside the three women in this play to maintain the higher ground and a unity of purpose that transcends the lines that normally have us bound. Maybe it was the interval can of pale ale, but it was a lofty feeling indeed and fully matched the elevated poetic prose that infuses Misha Levkov’s first play.” - Paul Joyce - Ithankyoutheatre

“Design-wise (Ingrid Hu, sets and costumes, Jonathan Chan lighting), we have white gauze, window frames, and boxes lit from below with roots or wire within to give a sense of oppression or imprisonment.” - Louise Penn - Lou Reviews

“Visually intensified by Jonathan Chan’s lighting and Daniel Denton’s projection” - Susan Elkin - Sardines Magazine

Grandad, Me and Teddy Too

Polka Theatre

“The set (designed by Katie Lias) is beautiful and enticing; the brilliant Polka ushers are constantly alert to toddlers who attempt to climb off the carpet and into Mia's bedroom. Jonathan Chan's colourful lighting and sound design from Greg Hall also add a touch of magic to proceedings.” - Charlotte Bois-Pursey - Broadway World UK

“Designed by Jonathan Chan the lighting provides a pathway to a wondrous, imaginary world.” - Marian Kennedy - LondonTheatre1

“Underscoring this, twinkling music and lights are used sparingly but beautifully effectively to emphasise important moments, or changes in location, accentuating the careful storytelling with sensory sparkle.” - Mary Pollard - Everything Theatre

The Solid Life of Sugar Water

Orange Tree Theatre

“Thanks to some clever work with mirrors and lights from designers Ica Niemz and Jonathan Chan, in the moments of despair a gulf opens up beneath the bed: a glowing red hole seems to reach down to impossible depths.” - Miriam Gillinson - The Guardian

Move Fast and Break Things

Summerhall

“Move Fast and Break Things is a formally inventive show that uses miniature sets, tiny dolls and projections – designed by Sascha Gilmour and lit by Jonathan Chan – to transport us to Silicon Valley, where Google and other tech companies are based.” - Natasha Tripney - The Stage

The Straw Chair

Finborough Theatre

“The spirit of the island is beautifully evoked in all its remoteness and its beauty, its oddness and naturalness, aided by Anna Short’s hauntingly poetic score, and by Jonathan Chan’s lighting of the plain backdrop in different hues of white and blue – a simple ploy but hugely effective in creating the illusion of different times of day and different weather” - Christopher Day - Open Letters Review

“There is considerable beauty in this simply staged show, where sensitive lighting and sound effects successfully convey atmosphere.” - Jenny Booth - Time & Leisure

“Polly Creed’s direction carefully balances scenes with shifting atmospheres which paired with Jonathan Chan’s lighting design creates a strong emotional landscape to the narrative.” - Viv Williams - West End Best Friend

“Alex Marker’s set design is functional – relatively barren, like the world Isabel finds herself coming to terms with – but the staging is made rich through understated, evocative lighting from Jonathan Chan and Anna Short’s expressive sound design. Together they introduce subtle reference to the profound beauty within the island community and its culture.” - Mary Pollard - Everything Theatre

“Alex Marker’s stage set is the room the minister and his wife live in with a bed curtained off but Jonathan Chan’s lighting shows us the gloom of dusk and then dawn in these islands of long summer days.” - Lizzie Loveridge - Theatre Vibe

Belvedere

Old Red Lion Theatre

“Sitting in the traditional, cosy Old Red Lion Theatre, we are thrown into an eerily intimate atmosphere by designer Tamsin Robinson’s minimalist set, which simply features a solitary chair and a man in a white straightjacket. Simultaneously, lighting designer Jonathan Chan plunges us into the uneasy, sinister feeling a psychiatric ward might give, immersing the stage in the sort of blue light that eventually makes you feel queasy.” - Kit Bromovsky - Everything Theatre

“The play written by Romanian-born playwright Ana-Maria Bamberger gets a make-over from American director Lydia Parker with attention to economic sound and atmospheric lighting.” - Heather Jeffery - London Pub Theatres

Snowflakes

Old Red Lion Theatre

“Snowflakes is a master class in the use of theatricality, although there is a filmic feel to the show, it uses a marriage of multi-media, superb lighting effects, thoughtful costume and set design to achieve it.” Heather Jeffery - London Pub Theatres

“Above all, credit to the smoking lighting effects designed by Jonathan Chan which give the show a film noir effect.” Heather Jeffery - London Pub Theatres

“Alys Whitehead’s design is a delight, with a set that effectively integrates digital elements in a way that enhances rather than distracting (always a risk with video projections, but brilliantly executed here). While Jonathan Chan’s lighting design further enhances the atmosphere of the piece.” - View From the Outside

“Alys Whitehead’s angular set reflects the divisions of social media. Encased by a reflective headboard and white box, the dark hotel room mimics a laptop, the site of justice mirrored back on to the audience. Emojis flitter across the set, along with unsettling blue lights.” - Jelena Sofronijevic - The Stage

“As for the stage itself, the static set makes use of some subtle but clever lighting to create something more than initially meets the eye.” - Zoё Meeres - North West End UK

Fester

Cockpit Theatre

“Vasko’s design, combined with Jonathan Chan’s light design and the ensemble’s scenographic efforts create some magical moments on stage, such as the use of handheld lights to manifest hellhounds and the creation of the ‘hell-evator” Gaurav Singh Nijjer - North West End UK

“The sound also ameliorating Jonathan Chan‘s lighting, to deliver a sharp, precise and dynamic synergy, ensuring the piece flowed with ease, quickly switching between scenes and sequences” - Ask The Ushers

Sticks and Stones

Tristan Bates Theatre

“Lighting, costume and set design are all effective too; neatly realising school offices with an eye for detail despite the tight space.” Mike Carter - Everything Theatre

The Refuge

Barons Court Theatre

“The design reflects the unpretentious nature of this production, with sound (Urban and Gurney) and lighting (Chan) extending the gloomy setting and adding ghostly interventions to successfully, if a little abruptly, frame the performance.” Lizzie Granger - The 730 Review

Random

Tristan Bates Theatre

“The atmosphere of a full theatre in an almost empty stage is created by a superb work of lights. Simple yet perfect. Praise to the creative team helping Francesca create and define the space on stage, so you feel yourself walking in their house, even if you are sitting on a chair of a theatre” Giuseppe Barone - London Theatre Reviews

“The large rug, single chair in the middle, and a meticulous lighting design that alternates warm and cold lights to indicate places and states of mind are everything the performer needs to aid her narration.” Cindy Marcolina - Broadway World UK