Christoph Wagner is Lecturer in Lighting at the Royal Conservatoire of Scotland. After graduating with distinction from Queen Margaret University College in Edinburgh he has worked as a Lighting Designer on productions in many genres, including devised theatre, stand-up, cabaret, corporate events, product launches and fashion shows.

After joining the Conservatoire in 2012 he has completed a Postgraduate Certificate in Teaching Higher Arts Education and is now in the midst of a PhD. His particular interest lies in the relationship between advances in technology and their impact on Lighting Design, and in how lighting design is archived.

Recent productions include:
For the Royal Conservatoire of Scotland: Hamlet (Tron Theatre), Victory (Tron Theatre);

For Soho Theatre: Everything Must Go, The Diver, The Tiger Lillies - Seven Deadly Sins, Moonwalking in Chinatown, Thom Pain (based on nothing) (original Edinburgh and London production), How to Act Around Cops and How To Lose Friends And Alienate People; As part of Soho Theatre's cabaret and comedy program he lit hundreds of shows, including Eddie Izzard, Michael McIntyre, Jimmy Carr, Russell Brand, Catherine Tate, Dylan Moran, Kiki & Herb. He also worked on many education and community projects with the Soho Theatre Education Department.

Other Theatre includes: One Green Bottle (Tokyo Metropolitan Theatre, touring), Khamsa (NYT), Verona Road (Intermission Theatre), Etherdome (Jackson's Lane, touring), Miss Lily Gets Boned (Finborough Theatre), The Missionary’s Position (Hoxton Hall, touring), Wasted (Intermission Theatre), Bitches Ball (Hoxton Hall, touring), House (Finborough Theatre), Risk (Actors' Centre), Perfect (touring), The Garden (Camden People's Theatre), Robin Hood (Riverside Studios), City Lost 0.11 (touring), Moments in Time (Tuplow Court Festival), The Hunchback of Notre Dame (touring) and Horses, Horses, Coming In In All Directions (The Arches Theatre Company).

Christoph Wagner's lighting design evokes this legal twilight zone from the opening scene: the stage is sunk in cloying darkness, relieved only by the green light illuminating two men driving their car, so that when the cop emerges to stop them with his accusatory bright torchlight, he seems to appear from nowhere.

Rachel Halliburton, Time Out, How To Act Around Cops

[The director] makes maximum use of the minimal set and Christoph Wagner's clever lighting.

Jeremy Austin, The Stage, How To Lose Friends and Alienate People

The strongly effective lighting and technical electrics by Christoph Wagner add surprise and force to highlight dramatic moments in the plot.

David Walters, The Front Row Center, One Green Bottle

Christoph Wagner's lighting shifts us beautifully through Bradshaw's strange journey across England,...

Joyce McMillan, The Scotsman, Victory

...with clever projections and well designed sound effects and lighting throughout.

Jan Ewing, Pup's Books, One Green Bottle