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Shoot, Get Treasure, Repeat and Eschara “Firm-handed director Dan Ayling [company co-founder with Whiteman] teamed with formidable accomplices, Rhiannon Newman-Brown & Sally Ferguson, designers of fear-inspiring scenery & mood-perfect lighting, aided & abetted by Daffyd Owens's haunting soundscapes, communicates with a power, greater than the sum of these 6 short dramatic parts.” “…such is the ferocity, intensity and tenacity of writing, direction and performance and the slick, confident staging, this theatre cycle wirghs heavily n the mind long after it finishes.” Christie in Love
“The big points for this production, though, are all scored by designer Rhiannon Newman Brown. Spectacular attention to detail, beautiful aesthetic and rhythmic energy all characterise the space, which is the greatest source of theatrical power throughout the entire performance. The design elements manage to accurately communicate period, and to create an appropriately dark and morbid atmosphere whilst integrating fluidity in the staging. It is party this appearance of a well fitting, well put together stage which makes Christie in Love stand out from other current fringe productions.” “ …Rhiannon Newman Brown gets character and period exactly right…” “There is a clue to Brenton’s deeper intentions in the striking designs of Rhiannon Newman Brown, whose shabby garden is knee-deep in screwed-up newspapers. This, perhaps is less a play about Christie than an excoriation of British prurience, as epitomised by a hypocritical tabloid press… as well as by the degrading things that make us laugh” The Threepenny Opera “… Brecht and composer Kurt Weill based their work on The Beggar’s Opera by John Gay, moving the setting from 18th century England to early 20th century Germany, and this production cleverly combines hints of both and some 21st century updating of words”
The Jewish Wife Rhiannon Newman Brown – Assistant Designer and Prop and Furniture buyer “Stunningly detailed” Guardian April 5 2007 “Realised in meticulous period detail” The Daily Telegraph April 6 2007 The “exquisite re – creation of a stylish Art Deco bedroom is as meticulous as Katie Mitchell’s direction” The Mail on Sunday April 8 2007-09-19
James and The Giant Peach “The young members of the cast were transformed into seagulls, there were roller booting sharks, a multimedia underwater wonderland and comedy from sailors. We loved it!”
“Rhiannon Newman Brown’s set was not Mozart’s enchanted Naples… but the deck of a cruise yacht. Ingenious lighting converted its backcloth from seascape to cabin wall. As a Mozart lover I was once again caught up in Cosi, and had a good evening.”
Turtle Opera: Royal Opera House and Turtle Key Arts “We just could not believe just how much you all achieved in bringing this group of both challenging and complex youngsters together, working as a tam towards the same goal. “Wow – what a phenomenal success Saturday was… I thoroughly enjoyed every minute of the children’s performance and what was so magical about it was that you could so clearly here the children’s voice in the content of the show… The interactions and support offered by the adults in the company was just superb – gentle, discrete.”
“Onegin meets Orlando… Covent Garden’s disappointing Eugene Onegin was described on these pages last month as “perversely different”. With intelligent insight, Opera by Definition have decided to be radically different, moving Tchaikovsky and Pushkin’s searing tale from 1812 to the present day. When Tatyana first meets Onegin in Russian rural tranquillity it’s all empire - line dresses and frock coats, but by her name - day celebrations, the action has moved to 1870. By act three we are in the Fifties – satin ballgowns and thin - lapelled black tie - and finally, when Onegin realises what a fool he was to reject Tatyana, he’s in a linen suit and she’s in a comfy cardie. The message is simple: rejection is a universal, timeless experience. …Opera by Definition show what heights a professional company can achieve on a tight budget and in a small space. They are planning Handel’s Tamerlano next year - it should be a winner.” Observer Sun April 2, 2006
Cant Stand Up For Falling Down Arcola Theatre October 2006
“There’s a revival on at the Arcola theatre with a very strong cast …and straightforward but powerful design (Rhiannon Newman Brown, the debris and items of the characters life all piled up at the back of the stage), lighting (Alex Stone) and direction (Dan Ayling). However, as always with monologues, they live or die by the actors performances, which were good. …Also note the play is staged in the “new” Arcola Studio 2, which is a small but seemingly very flexible space.” Ben Yeoh
Great, authentic period costumes. What more can I say? The set by Rhiannon Newman-Brown was FAB! A central area on a crazy, off-kilter rake with a kind of bunker/trench at one side and a strange, twisted, abstract bare tree at the back. The set was realistic but by no means naturalistic and that really helped the production's ability to jump locations. The waterhole was completely hidden behind the set but we could see Bridh's body rising out of it and water splashing up from her hands from this unseen oasis. Very atmospheric. There was a strange and effective relationship between the detailed period costumes along with the detailed period props and set dressings (lots of sticks, bark, dirt, canvass, sacking) and the modern, off-balance angles the set created. This design would not be out of place on any stage in any theatre. Dominic Rickhards |
