Theatre Designer/Maker

Set & Costume Designs (1)

Trenches/ Parlour Games (Bridewell Theatre)

By Richard Vincent/James Hartnell
Director: Kirstie Davis
Lighting Designer: Adam King

Commissioned especially for Mountview, these two one-act plays sat together in a double bill exploring British domesticity and relationships. With one set at a neighbour’s summer barbecue and one during a family Christmas, both new works explored the dynamics of friendship and family.

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Much Ado About Nothing (Karamel Club)

By William Shakespeare
Directors: Stephen Jameson & Denzel Westley-Sanderson
Lighting Designer: Holly Ellis

One of Shakespeare’s most frequently performed comedies, in our version the action took place during a long hot Summer in the 1950s, on the Sicilian estate of a retired Mafia Don. This was one of three Shakespeare shows in the Karamel Club that utilised  a specially designed steel structure around a raised stage that could be dressed in different ways for different shows. The staging and steps could also be re-arranged in different configurations depending on requirements.

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The Comedy of Errors (Karamel Club)

By William Shakespeare
Director: Rachel Bagshaw
Lighting Designer: Holly Ellis

Shakespeare’s earliest comedy, combining mistaken identity, confusion (with not just one but two sets of identical twins), romance and the comedy of human folly. This was the first of the three shows in the Karamel Club that used the same staging as Much Ado About Nothing shown above, but with this show parts of the set gradually got pulled up or ripped down (using flame retardant rice paper to cover all the various different revolving and sliding panels).

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As You Like It (Jacksons Lane & Touring)

By William Shakespeare
Director: Bronagh Lagan
Lighting Designer: Derek Anderson

Our heroine Rosalind has been banished from the court of her uncle, and flees with her cousin Celia to the Forest of Arden to find safety, and eventually love. For this production the court was updated to a modern office environment, and our Forest of Arden in contrast was set in the middle of a summer music festival. The stage transformed from plain grey blocks to a riot of colour and pattern set amongst stylized trees.

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Busters (Bernie Grant Arts Centre)

By Roy Williams
Directors: Stephen Jameson & Tinuke Craig
Lighting Designer: Mark Dymock

It is Summer 1976, the August Bank holiday and one of the hottest days of the year. Across town in Notting Hill the carnival is in full swing, whilst in Tottenham the staff and customers of “Busters Burgers” struggle with the trials and tribulations of everyday life. This play with music was a world premier of acclaimed writer Roy Williams new work.

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Touched (Bernie Grant Arts Centre)

By Stephen Lowe
Director: Paul Ryan Carberry
Lighting Designer: Neill Brinkworth

The play is set from May to August 1945 during the hundred days between VE Day and VJ Day. It focuses on a group of ordinary working class Nottingham women, their sacrifices and suffering coping with the deprivations and heartache wrought by the war. With the coming of peace there is hope for a different kind of future. The set reflected the grey harshness of their world, the “make do and mend” of the war years, whilst also invoking the hardships of the battlefields and bombings endured by those on both sides.

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The Love of the Nightingale (ALRA Theatre)

By Timberlake Wertenbaker
Director: Ewan Marshall
Lighting Designer: Mark Dymock

The basis for this play is an adaptation of the Ancient Greek legend of the rape of Philomele by her brother-in law Tereus. In our production we moved the action of the play from Greece to a hospital environment. Each of the characters became an inmate in the mental institution, no longer fully in control of what happened to and around them.

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Her Naked Skin (Bernie Grant Arts Centre)

By Rebecca Lenkiewicz
Director: Katie Henry
Lighting Designer: Neill Brinkworth
Projection Designer: Dan English

The play is set during the struggle for women’s suffrage in the early 20th century, beginning with the death of Emily Wilding Davison at the 1913 Derby and ending with the outbreak of World War I. The challenge for this production was the need to share the same set with a production of “The Importance of Being Earnest”. I designed a set which contained architectural details that would work for both shows, but in each case could be changed significantly with images projected onto it rather than huge scenery changes.

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Playhouse Creatures (ALRA Theatre)

By April de Angelis
Director: Ewan Marshall
Lighting Designer: Prema Mehta

The year is 1669, and theatres have just reopened after seventeen years of Puritan suppression. There is a surge in dramatic writing and the first English actresses appear on stage. Playhouse Creatures focuses on five of the most famous (Nell Gwyn, Elizabeth Farley, Rebecca Marshall, Doll Common and Mary Betterton) to provide a moving and often comic account of the precarious lives of Restoration actresses. The set and props were kept very simple, providing a flavour of the theatre of the time with a mainly muted colour palette. The costumes in comparison were lavish with detail and rich fabrics.

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Wild Honey (Corbett Theatre)

By Anton Chekhov, adapted by Michael Frayn
Director: Lucy Skilbeck
Lighting Designer: Neill Brinkworth

Based on an early work by Chekhov, this play about a fickle schoolmaster in 19th century Russia adapted by Michael Frayn veered from farce to tragedy in three acts.. This was another production that had to share a set (this time with Gorky’s “Philistines” and Pushkin’s “Boris Godunov”). Simple set elements were repositioned in different ways for the different acts of this play. We moved from the garden of Anna’s estate, to the woodland surrounding the schoolhouse, then to the interior of the schoolhouse, before ending in tragedy on the train tracks.

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Daisy Pulls It Off (ALRA Theatre) 

By Denise Deegan
Director: Katie Lewis
Lighting Designer: Mark Dymock

This is a parody of all those wholesome adventure stories about life in a girls boarding school in the early twentieth century. Our production included secret trapdoors and hidden doorways behind bookcases, along with lots of different steps and levels for the actors to play with. At the same time it gave them lots of open space for classroom scenes and the action of the hockey field.

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The Schoolmistress (ALRA Theatre)

By AW Pinero
Director: Chris Monks
Lighting Designer: Aideen Malone

The Schoolmistress features a heroine who leads a double life as a very proper Victorian lady by day (as director of a girls’ finishing school), but by night she fulfills her dream of being a diva of the opera. This production was in the round, where every detail in the furniture, props and costume chosen became incredibly important.

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