“Set and Costume Designer Libby Watson is a faithful student of the late 1920’s and Shelia’s shift from Sophisticated tailoring to a modest sailor-collared day dress in the second act has a quietly devastating impact. As the characters lounge about on chaise longues, Watson has the set draped in a gauzy material, practically begging to be stripped back to reveal the reality behind the illusion.”
“Libby Watson’’s set splits apart, converting the shabby rehearsal space into a light bedecked performance stage.”
“Libby Watson’s magnificent set and costumes incorporate both colonial majesty and woodland mystery”
Libby Watson’s set is filled with vivid colour and period detail and the swirling stage movement gives the play a dreamlike quality
The production brilliantly directed by Simon Callow is exquisite to look at.
“The entire action of the play takes place in Florence’s tiny flat, wonderfully designed by Libby Watson to give the impression of no space, while allowing the performers plenty of room to move.”
“Paulette Randall’s vibrant, splendidly cast production boasts a terrific, fluency-enhancing design by Libby Watson.”
“Designer Libby Watson has cleverly created a ramshackle hut in Pittsburgh, the home of all Wilson plays, which at a critical moment that gives the play meaning, magically transforms itself into the deck of a rickety boat.”
“The production looks exquisite…”
“With a storm raging outside, he pads in his socks about the dingy room (depressingly well-realized by designer Libby Watson).”
“It looks right, too, thanks to Libby Watson’s clever design that gives us glimpses of Broadway skyscrapers, a wild Cuban fiesta and a New York sewer.”
“…and there is a fine design of the family’s dilapidated house and backyard by Libby Watson.”
“….Libby Watson’s atmospheric set…”