Tom Visser

Lighting Design

Hailing from Northern Ireland and a family close to the theater, Tom Visser began working on musicals at the age of 18. In 2003, he joined the Nederlands Dans Theater in The Hague as a lighting designer, before continuing his work in Europe (Ballet Gothenburg, Royal Ballet of Flanders, Ballets de Monte-Carlo, Norwegian National Ballet, Royal Swedish Ballet, Compañía Nacional de Danza in Madrid, NDT 1 and 2), the UK (Sadler’s Wells, London), Australia (Sydney Dance Company), the United States (Hubbard Street Dance Chicago), and Brazil (Balé da Cidade, São Paulo). Since 2005, he has designed the lighting for works by renowned choreographers including Crystal Pite (Solo Echo, 2012; Parade, 2013; Polaris, 2014; In the Event, 2015; Betroffenheit, 2015; The Statement, 2016; Flight Pattern, 2017), Alexander Ekman (Flockwork, 2006; Cacti, 2012; Tyll, 2012; Left Right Left Right, 2012; Rondo, 2012; Maybe Two, 2013; Definitely Two, 2013; A Swan Lake, 2014), Johan Inger (I New Then, 2012; Sunshine Logic, 2014), and Joeri Dubbe (Prospect Future, 2009; Predecessor, Thea, Chrono, 2011; Seed, Point Cloud, Trigger Happy, 2013; Kitsune, 2014), as well as Stijn Celis, Lukas Timulak, Sharon Eyal, and Peeping Tom.

Since 2016, Visser has been combining interactive media with his various projects and installations.

At the Paris Opera, he has designed the lighting for two creations by Crystal Pite, The Seasons’ Canon (2016) and Body and Soul (2019), as well as for Alexander Ekman’s Play (2017).