Set and Costume designer

Press

27/04/17 "The first masterstroke here is Cécile Trémolière’s design. On one level, it’s just really simple: a raised circular dais filled with turf, and in the centre a round, nest-like bed filled with duvets and pillows. On the back wall, a stylishly faded view of French (I assume) countryside, repeated on three panels. To the left and right, little glass sound booths (cf. Katie Mitchell, et al), except these ones have karaoke screens in them. Two older performers (Alwyne Taylor and Paul Haley) come on, say hello to us, and enter the karaoke booths.
I genuinely don’t think a design and opening of a play has made me grin so much in ages. Quite apart from anything else, it’s just so assured; you actually trust the people who have made the piece. You feel reassured that you’re watching theatre made by people who also live in the C21st with you, and who might even have seen theatre from mainland Europe." Andrew Haydon, Postcards from the Gods about This Beautiful Future

10/09/17 "No respectable bourgeois interior of the epoch would be complete without its beautifully hung curtains (would Yankees calls them ‘drapes'?), and indeed this one has them aplenty. They hang, majestically dominating the centre of the stage in all their floor-to-ceiling glory. We wait, the audience, for things to emerge from behind them; and they do. We wait, still expectant, for the magical moment when they part; and they do. And their opening reveals precisely what we would expect them to disclose, and it is wonderful. The actors get to do what any drama about the punk ‘Bewegung' requires them to do, and they do it very entertainingly. No, I am not going to spoil your thrill by revealing every last detail. It's just great. All the details are right here, they're echt. Even the zine-style programmes." Julian Eaves, British Theatre.com about Punkplay

26/02/17 "As a full size, working pool, the Mikvah itself is one of the most impressive sets I’ve ever seen. As well as offering a metaphor for spiritual cleansing and rebirth, for me, the sheer scale of the Mikvah really helped to reinforce the emotional perspectives of the two men. The play revolves around the pool, both physically and narratively, and I felt that the choice to use such an imposing structure helped to create a shared focus between the characters and the audience." Hannah Gilbert, Everything Theatre about The Mikvah Project

Interviews:

http://londoncalling.com/features/a-day-in-the-life-of-a-set-designer

http://harajukugirls.co.uk/creating-the-world-of-harjuku-girls-cecile-tremolieres-on-design-cosplay-and-sliding-doors/

http://www.ayoungertheatre.com/feature-linbury-prize-christopher-oram-national-theatre/