Assis Carreiro
Artist Management 
International Arts & 
Cultural Projects

'Emma Bailey's simple but suggestive and memorably minimalist set...Tantalisingly edgy…a stinging piece of entertainment.' 

The Times

 

'Emma Bailey’s high-concept multicolour set is another highlight. [She] incorporates slapstick into the set itself: in a moment straight out of a Terry Gilliam animation, a six-foot-tall fist on wheels barged out of the wings to knock Jess over mid-joke. In its innovative staging, Double Double Act is a triumph.'

The Culture Whisper

 'Designer Emma Bailey's set has plenty of fizz.' What's On Stage

 

'By far and away the star here is actually Emma Bailey’s set, which, without the aid of electronics, slides from Manhattan modesty to suburban chic with invention and ingenuity.' 

The Stage

 

'The fluffy pink rug, rainbow streamers and overflow of flowers suggest artifice and pretence...It is one of many clever methods used to comment on the separation between our virtual and real selves. Every aspect, from the set design (Emma Bailey) to the contents of the monologue itself, feels essential to Latowicki’s exploration of this idea...There’s so much more that I could say about this extraordinary show, but I just don’t have the words. Sorry. I guess you’ll just have to go and see it instead.'

Spy in the Stalls

'Emma Bailey's set is lots of fun to look at with all its colour. And her exciting, creative eye is also represented in Latowicki's disgustingly beautiful, shiny green dress. It's tacky, in all the best ways.'

Broadway World

 

'Bond and his designer Emma Bailey have come up with a very simple image, showered with colour, that is gorgeous and works splendidly. I guessed at what might happen from what I saw when first taking my seat—and was right, but never envisaged just how extravagantly beautiful it was going to be.' British Theatre Guide

 

Joshua Pharo’s lighting design and Emma Bailey’s design were truly magnificent'.

The Spy in the Stalls 

 

'The transition from Court to the Forest of Arden, with white paper hailing down upon the heads of our saddened voyagers, accompanied by the sweet sinews of Jude Obermuller’s original score, is a moment of such breath taking beauty that all that proceeds is forgotten and I, in effect, start again. I longed for theatrical magic and happily found myself in Narnia.'

Post Script Journal

 

'Designer Emma Bailey’s innovative setting provides an appropriately secluded platform to those on the fringe of society; those that have been squashed underground and pushed away from the gaze of humanity. Each corner of the dark car park houses a different setting, convincingly transformed into bedrooms strewn with week-old pizza boxes and unappetising stains; a run-down park littered with mud, leaves and a beaten-up car; a yard ravaged by callous youths carpeted with popped balloons...The strands of the fragmented set unite to create a feeling of the bitter, of the real, of the personal.' -

A Younger Theatre

 

'Emma Bailey’s striking designs place us in a world that resembles the Paris of 1968 with a touch of steampunk...The kids are taking over the theatre company Shakespeare at the Tobacco Factory. '

The Guardian

 

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