She works as a set and costume designer and is based in London, UK.
Theatre design includes: The Convert, Young Vic, The Woods Royal Court, Royal Exchange; The Duchess of Malfi, Faustus, The White Devil, The Roaring Girl, As You Like It, King John, The Gods Weep, RSC; Three More Sleepless Nights, Hotel, National Theatre; Kasimir and Karoline, Fanny and Alexander, Love and Money (Malmo Stadsteater); Beryl, West Yorkshire Playhouse; Brave New World, Dancing at Lughnasa, In Praise of Love, Theatre Royal, Northampton; Amerika, Krieg der Bilder, Staatstheater Mainz; Scorched, Old Vic Tunnels; Mary Shelley, The Glass Menagerie, Speechless, Shared Experience; The Container, Young Vic; King Pelican, Speed Death of the Radiant Child, Drum Theatre, Plymouth; Sisters, Gate/Headlong. Opera designs include: Madame Butterly, The Lottery, The Fairy Queen, Bury Court.
The play started with two actors striking a match each to decide who should play Faustus and who Mephistopheles for that performance.
We were interested in exploring the two characters being facets of the same person and Faustus’s journey being one into insanity. The design was bare boned; an empty stage with only a plastic sheet which Mephistopheles rips when he enters the space. All other characters took on an increasing grotesque persona as the play progressed.
I was lucky and took part in an Erasmus exchange whilst studying and studied for four months in Maastricht. Since then I have worked in Germany, Sweden and now in the Netherlands alongside my main practise in the UK. It has been fundamental to my work to partake in these international dialogues both at home and abroad and with the imminence of Brexit we will need to work out how to continue these conversations.”