About
English lighting designer Lucy Carter has a close creative partnership with Royal Ballet Resident Choreographer Wayne McGregor. Her credits for The Royal Ballet include Yugen, Multiverse, Obsidian Tear, Woolf Works, Tetractys, Raven Girl, Metamophosis: Titian 2012, Live Fire Exercise, Chroma, Infra and Qualia, and Dido and Aeneas / Acis and Galatea for The Royal Opera, where she returns in the 2018/19 Season for Hänsel und Gretel and Katya Kabanova.
Carter trained in dance and drama at the Roehampton Institute, University of Surrey, and in lighting design at the Royal Central School of Speech and Drama. In addition to her Royal Ballet work, Carter has lit productions for dance companies including American Ballet Theatre, Alvin Ailey, Charlotte Ballet, San Francisco Ballet, Bolshoi Ballet, Paris Opera Ballet, Stuttgart Ballet, Le Patin Libre, Australia Ballet, New York City Ballet, Pacific North West Ballet and Scottish Ballet, and collaborated on the multi-installation No Body for Sadler’s Wells. For Studio Wayne McGregor her work includes Autobiography, Atomos, FAR, Dyad 1909 (In the Spirit of Diaghilev) and Entity. Her opera credits include Fiddler on the Roof (Grange Park Opera), La finta giardinera(Glyndebourne Festival and La Scala, Milan), Grimes on the Beach (Aldeburgh Festival), Lohengrin (Welsh National Opera and Polish Opera), Elektra (Gothenburg Opera), Penthesilea (La Monnaie, Brussels) and The Adventures of Mr Broucek (Opera North).
Carter’s theatre work includes Everybody’s Talking about Jamie, Home I’m Darling, Husbands and Sons, Emil and the Detectives, Medea and Blurred Lines (National Theatre), Oil (Almeida), Persuasion, Saturday Night and Sunday Morning (Royal Exchange Manchester), Love and Money (Young Vic), The End of Longing (West End) and The Almighty Sometimes and Othello (Sheffield). She has twice won the Knight of Illumination Award, for Chroma and Woolf Works, and she won the inaugural 2018 Critics’ Circle National Dance Award for Outstanding Creative Contribution.