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Dates:
28/09/2010 to 23/10/2010
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Press quotes
Anna Bliss Scully’s design is excellent, a sparsely furnished set, with it and the audience surrounded by trees which are eerily lit by Richard Williamson, it really does enhance the ambience of discomfort and general creepiness which is just right.
There Ought To Be Clowns
There is nothing out there', states Richard (Simon Thorp) at one point in Martin Crimp's eerily elliptical 2000 play'. Amelia Nicholson's revival takes that statement literally: beyond designer Anna Bliss Scully's claustrophobic ring of trees there is only inky darkness;... continue reading
Andrzej Lukowski, Time Out
Anna Bliss Scully's design and Richard Williamson's lighting neatly encapsulate the situation of both audience and characters. The set is a multi-layered floor surface, the edges of each layer broken away to show another one beneath, around the seating is a path littered with fallen... continue reading
Howard Loxton, British Theatre Guide
Richard Williamson’s intricate use of lighting adds ambience to this production and brings out the best of Anne Bliss Scully’s bucolic set in which the sparse interior setting contrasts effectively with the surrounding trees and foliage underfoot. The unreserved seating and circular stage... continue reading
Racheal Philips, The Londonist
In this revival, director Amelia Nicholson has the audience among tree trunks in the forest peering into the doctor and his wife’s country home. As they are watched from the bushes by us, the voyeurs, their isolation is acute ... This threat of the unknown other, coming from the sleeping woman... continue reading
Daisy Bowie-Sell, The Telegraph
The heightened naturalism of the dialogue, laced with repetition and misunderstandings is relentless, but creates a strikingly claustrophobic atmosphere, accentuated by Anna Bliss Scully’s tree lined set, which places us at the heart of the couple’s isolated abode.
Sally Stott, The Stage
Nicholson’s production is intense and atmospheric, with a circular stage surrounded by trees and the scent of the forest in Anna Bliss Scully’s lovely design.
Aleks Sierz, The Arts Desk
