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Anchor 3

PLAYHOUSE CREATURES

2023
Role I Set Designer 


Playwright I April De Angelis
Venue I Richard Burton Theatre, Royal Welsh College of Music and Drama, Cardiff (End s
tage proscenium arch)
Company I Richard Burton Theatre

Director I Patricia Logue
Costume Designer I Emily Cantwell
Lighting Designer I Yasmin Alayoubi
Sound Designer I Suzanna Candler
Scenic Communicator I Kayleigh Smith

Production Photos I Simon Gough
1663. Charles II reopens the Playhouses after years of suppression and for the first time, allows women to take to the stage. For four women, this signals the beginning of a new chapter in their lives. On stage, the women enjoy their newfound freedom; behind-the-scenes, they struggle for equality and recognition.

This vivacious comedy takes us backstage in a Restoration playhouse to celebrate a bold moment in the history of modern theatre. April De Angelis’ Playhouse Creatures will have you laughing and crying in equal measure.
The design's original concept was to emphasise the idea of women on display. However, the play's setting in the 1600s suggested a design that evoked the fear and darkness of a tiring theatre room, particularly for these women. This would contrast with what is happening in front of the proscenium arch, where the theatre shows a more rich and elegant side, a place to have them on display.
DESIGN PROCESS (Please click the arrows to follow)
The final 1:25 model was a huge source of communication during the production period, especially as more people joined the team later on, and even more so in the workshop when I explained my vision to the scenic communicator. During the model-making process, extensive research and trial-and-error were conducted for the textures of the walls, as well as communication with the director. I wanted the finish on the walls to emphasise the concept of fear in the space (tiring-room), with overlaying layers to show its history and grittiness. Again, this would help to contrast with the softness of the flowing fabric on the front side of the proscenium.
Similarly, the drafting book, including as much detail as possible helped communication with the workshop, particularly since the majority of the set was built while I was away.
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