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Due to the ongoing effects of closure at the Royal Opera House, information about artists is only updated periodically during this time. We apologise for any inconvenience caused.

Jon Clark

Lighting designer


British lighting designer Jon Clark made his Royal Opera debut in 2013 on Written on Skin, and also designed lighting for Clemency for ROH2 in the Linbury Studio Theatre. He has since returned to light Król Roger, L’Étoile, Lucia di Lammermoor (revived in the 2019/20 Season) and The Exterminating Angel.

Clark works prolifically in theatre and won an Olivier Award for Best Lighting for his work on The Inheritance in the West End. He works regularly for the National Theatre, where his credits include Anna, The Lehman Trilogy (also West End and New York), Amadeus, As You Like It, The Beaux Stratagem, Othello, Hansel and Gretel, Damned by Despair, Collaborators, Beauty and the Beast, Hamlet, The Cat in the Hat and Our Class. Further credits include productions in the West End (Cyrano de Bergerac, Betrayal, The Pinter Season, Made in Dagenham, King Charles III), for the Almeida (Richard III, King Lear, The House of Bernarda Alba, among others), Trafalgar Studios (Dr Faustus, The Maids, The Ruling Class), the Young Vic (Tree, Jungle, A Streetcar Named Desire, A Season in the Congo), Bridge Theatre (A German Life, Alys Always) and the Royal Court (Aunt Dan and Lemon and The Pride, among others). He has also lit productions in San Francisco and New York.

Clark’s opera credits include Hamlet for Glyndebourne Festival, Macbeth for Royal Danish Opera, The Turn of the Screw, The Winter’s Tale, The Return of Ulysses, The Perfect American and Caligula for English National Opera, The Perfect American for Teatro Real, Madrid, Orest and La bohème for Dutch National Opera and Street Scene and The Lion’s Head for The Opera Group. He has lit dance productions for Bern Ballett and Scottish Dance.

News and features

How to Stage an Opera: Opening the inner world of Król Roger

11 May 2015
How to Stage an Opera: Opening the inner world of <em>Król Roger</em>

When the huge stage you're working on can accommodate 33 red London buses, how do directors illuminate the nuanced inner struggles of a character?