Theatre
The House of Bernarda Alba
This set cleverly reflects the sense of entrapment within the household. A three-story house, constructed from unbraced open framework and enveloped by a translucent gauze, to capture the sense of confinement within the play. Through several layers of gauze, viewers can catch glimpses of the action unfolding in each room,.
Wizard of Oz – The Icon of the Sea
Built within the world’s largest ever cruise ship, The Royal Theatre is home to this elaborate staging of the 1939 fantasy classic. Production designer, Andy Walmsley’s ambitious design incorporates all the wizardry from the west end stage.
La Boheme
Isabella Bywater’s designs inspired by Cartier-Bresson’s photography, involved building 2 complete houses that rotated. They were built in a modular fashion that allowed them to pack into shipping containers for international touring
Linda
The set cladding was finished onsite during night-shifts demonstrating the high end finish Scott Fleary can achieve even under considerable pressure.
London Assurance
‘2nd from Bottom’ described this period comedy as being, ‘A total triumph in the design department’, while the British theatre Guide observed that it, ‘Slowly unpeels it layers like an architectural onion.’
Barber of Seville
This towering, extravagant and slightly surreal set wowed audiences at Glyndebourne and has since become a favourite in their repertoire.
Dying for It
The Guardian described it as, ‘Atmospherically set by Lez Brotherston around a spiralling stairwell that is a grubby testament to decay’, while Curtain up thought that the ‘Impressively dilapidated design sets the scene nicely’.
Rosmerholm
Ibsen’s rarely staged masterpiece opened at the Duke of York’s theatre to rave reviews.
Warhorse
Scott Fleary is proud to have supplied the impressionistic and evocative set on which those horses ran not to mention an imposing full size battle tank.
Treasure Island
The Guardian, who thought the production was ‘Astonishing’, described Lizzie Clachan’s set design as, ‘A drama of its own’.
Black Sabbath – The Ballet
Imagining a more perfect centrepiece for Black Sabbath – The Ballet is a challenge in itself. Picture a chrome demon astride an upturned car, boasting an impressive 8-foot wingspan, menacing horns, and a truly demonic codpiece!
Tosca
Tom Scutt’s impressive set was dominated by a vast, gilded cupola with fresco, modelled on Rome’s Pantheon.
Peter Gynt
The National Theatre’s production of Ibsen’s classic Peter Gynt in a new adaption written by David Hare. Directed by Jonathan Kent with an ambitious design from Richard Hudson that filled the large Olivier Theatre stage. Frankenstein
Scott Fleary were approached by the National Theatre to construct parts of the set for the new production of Frankenstein on the Olivier Theatre at the National Theatre. The design was wonderfully challenging, the section of the set we built were the curved rear wall, the pier that descended out.
Curious Incident of the Dog in the Night-Time
The winner of seven Olivier Award’s 2013, The Curious Incident of the Dog in the Night-time has transferred to the Apollo Theatre, London. Based on Mark Haddon’s award-winning novel The National Theatre’s production along with Bunny Christie’s superb design incorporated ingenious automation into scenes of pure theatrical stagecraft. Movement and.
