Lucy Carter

English lighting designer Lucy Carter often collaborates 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 Qualia, and Dido and Aeneas/Acis and Galatea, Hänsel und Gretel and Katya Kabanova for The Royal Opera. 

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. Carter has worked for dance companies ABT, Alvin Ailey, Charlotte Ballet, San Francisco Ballet, Bolshoi Ballet, Paris Opera Ballet, Stuttgart Ballet, Le Patin Libre, Australia Ballet, NYC 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 McGregor + Mugler, Autobiography, Atomos, FAR, Dyad 1909 (In the Spirit of Diaghilev) and Entity. Her opera credits include Orphée (ENO), Werther (Bergen National Opera), La finta giardinera (Glyndebourne and La Scala), Grimes on the Beach (Aldeburgh Festival), Lohengrin (WNO and Polish Opera), Elektra (Gothenburg Opera), Penthesilea (La Monnaie) and The Adventures of Mr Broucek (Opera North). 

Carter’s theatre work includes Corolianus, On the Town, Everybody’s Talking about Jamie, Home I’m Darling, Husbands and Sons, Emil and the Detectives, Medea and Blurred Lines (National Theatre), Fiddler on the Roof (Grange Park Opera), 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 as well as the 2019 Liverpool Institute of Performing Arts Companionship for outstanding achievement.