Call It A Day 'Dan Saggars' lighting design is warm and autumnal, making for a gentle but eerie atmosphere...'
Frey Kwa Hawking, The Stage
'The whole atmosphere is comforting and safe, Dan Saggars’ lighting and Ben Babbitt and Maxwell Sterling’s sound melting around the mood changes.'
Kate Wyver, Exeunt Magazine
Distance 'Pros: The solid sound and lighting design... It is a powerful scenario that plunges us abruptly into the depths of the character’s despair and receives a striking visual rendering in Dan Saggars’ expressionistic lighting. Sudden contrasts between brightness and shadow, blurred projections and blinding spotlights pointed towards the audience are an immediate indication of serious distress.'
Marianna Meloni, Everything Theatre
'...lit with equal care and style by Dan Saggars...'
Julian Eaves,
Schism 'I must also congratulate lighting and sound designers Dan Saggars and Pete Malkin for their work which was truly inspiring...'
Sarah McPartlan, MusicalTheatreMusings
'...the design is evocative - a hazy room lit with flickering lights that reflect Harrison's fluctuating mental state...'
Nathan Lucky Wood,
Chocolate Cake 'Lighting designer Dan Saggars really ramps up the tension when it comes to cake-eating time, making the eponymous dessert the real star of the show.'
Jo Caird, The Stage
'The set is brought to life by the colourful lighting, almost turning the atmosphere into a warm comforting feeling, like you'd feel after eating chocolate cake.'
Shaidi Ramsurrun,
Eugene Onegin 'With some delicate and well-considered lighting design from Dan Saggars, atmospheres, attention-focusing were achieved.'
Mike Smith, Art Scene In Wales
How to Win Against History Tour 2017 'Verity Quinn's design and Dan Saggars' lighting perfectly evoke the dilapidated glamour of Paget's unconventional Victorian lifestyle.'
Liam Rees, Broadway Baby
The White Bike 'The striking lighting design is by Dan Saggars, who did good work in Carry On Jaywick at the Vault Festival earlier this year. ... These lights and the physicality of the actors give life to [the]...story'
Richard Maguire, The Reviews Hub
Orfeo ed Euridice 'With Dan Saggars' clever lighting plots, just as powerful as those he provided for his 2016 Alcina success...'
Clive Peacock, Bachtrack
'...with striking lighting designed by Dan Saggars as well.'
Mel Cooper, The Borrowers '...Verity Quinn's magical design which owes much to Dan Saggars' superbly atmospheric lighting.'
Peter Yates,
Punts '...the cast are supported by strong direction and effective design...Dramatic lighting effects punctuate the play from beginning to end and Dan Saggars has designed the lighting to be in sympathy with the action.' Viola Patrick, Live Theatre UK
'Dan Saggars' use of neon lights gives the show a dynamic and modern touch, and ingeniously alludes to unshown acts.' Cindy Marcolina, Broadway World
'The set, designed by Amelia Jane Hankin and lighting design by Dan Saggars fuse together seamlessly. LED strips line the set and make for visually exciting transitions and very cleverly add extra detail to the very open set. This is a great collaboration between both designers.
With little space to hang fixtures Dan Saggars has managed to create a flawless design for this show, pinpointing performers in the scene changes using birdies worked incredibly well for this production.' The Decadent Designer,
How to Win Against History 'Dan Saggars’ lighting design is replete with harsh edged spotlights, attracting attention, and obnoxious colours demanding notice. However, more vulnerable scenes are equally complimented by subtler variations of colour and softer throws of light. The beautiful exposed bulbs lining the minimalistic set are also gorgeous and play into the showbiz element of the show.'
Emily Cousins, Everything Theatre
'Dan Saggars' lighting also adds a technicolor of vibrant washes that add to the off-kilter mayhem of How To Win Against History, making it look as sumptuous as it is surreal.'
James Waygood, Grumpy Gay Critic
Vanity Fair ‘Further, Chambers, designer Dan Saggars and a collaborative effort from the cast, have devised incredibly creative and streamlined methods of delivering the story.’
Ed Nights, The Gizzle Review
Then Leap! 'Lighting and haze are used to create an intimate and magical atmosphere'
Clare Annamalai, Everything Theatre Only Forever '...creating an intensely claustrophobic experience, made all the more uncomfortable thanks to the...harsh, flickering fluorescent strips (Dan Saggars) that flood the entire studio with light.'
Ginger Hibiscus
‘…the lighting designer also gets decent mileage out of the flicker and pop of fluorescent bulbs as the power on…create(s) an evocatively claustrophobic mise en scene.’
The Trial Of Galileo Dan Saggars’ lighting too make the space feel smaller – the edges are shrouded in darkness and the bright yellow lights bear down upon Hardy, again, this evoking the sun.
Views from the Gods, Views from the Gods
Aspects of Love ‘The lighting was superb…The lighting plot was very clever throughout…’ Jacquie Stedman, NODA.