Offal Dance – Scott Walker’s Meltdown, Southbank Centre, 2000
Choreography by Lea Anderson, Set & Lighting by Simon Corder, Music by Orbital
- Orbital’s techno score was slightly more user-friendly, but you had to wait a long time to see it because their lighting set was so extravagant it took an hour to assemble. Anderson’s Cholmondeleys had more to contend with in the way of smoke and effects but those who stuck it out discovered there’s more to clubland than meets the naked eye. A hot night. – Max Bell, Evening Standard, 19 June 2000
Rodelinda – Everyman Palace Theatre Cork & Tour, 1999
Directed by James Conway, Designed by Neil Irish, Lighting by Simon Corder
- “James Conway’s production – in a disarmingly simple set and handsome modern costumes by Neil Irish, stunningly lit by Simon Corder – pays Handel and his librettist, Nicola Haym, the compliment of taking their opera entirely seriously,…” – Hugh Canning, The Sunday Times, 9 May 1999
Flesh & Blood – The Place & Tour, 1997
Choreography by Lea Anderson, Costumes by Sandy Powell, Set & Lighting by Simon Corder
- “… swirling dresses of an extraordinary metallic fabric that changes from pewter to bronze to phosphorous green under Simon Corder’s extraordinary lighting. At one point knee-level blades of pure white light seem to slice right through the dancer’s bodies.” – Jenny Gilbert, Independent on Sunday, 6 April 1997
- “…Sandy Powell as costume designer, whose simple but elegantly cut dresses with swirling pleated skirts start out silver, but are variedly tinged by Simon Corder’s extraordinary lighting, which bathes the stage in smoky purple, or slashes it with green, or crosses it with diagonal white beams that seem to shine through the dancers’ bodies” – David Dougill, Sunday Times, April 1997
A Streetcar Named Desire – Theatre Royal Haymarket, 1997
Directed by Peter Hall, Designed by William Dudley, Lighting by Simon Corder
- Peter Hall’s pacy direction is well served by William Dudley’s realistic Southern Set, menacing lighting by Simon Corder and Stephen Edward’s spine-chilling sound.” – Ursula Curtin, Chelsea News, 9 January 1997