"A magnificent design by rising star Chloe Lamford"
Susannah Clapp, The Observer
INTERVIEWS + FEATURES
Feature and interview / The Guardian / July 2017
Imitations of Life / Interview by Dan Hutton
Exeunt Magazine / December 2013
Financial Times / December 2015
ON THE SITE
"The significance of The Site lies not in the individual pieces of work that will be seen here, but in its interrogation of how theatre is traditionally made and how space defines, confines and liberates it. It asks what happens if you change the process by which the creativity of those who collaborate to make theatre is harnessed. All of which are questions that theatre should ask itself more often."
THE GUARDIAN / LYN GARDNER / JUNE 2017
Read review here
The production assembles and reassembles itself – a virtuosic whirl of bits of scenery (design by Chloe Lamford), fantastic singers, excerpts from the operas that, in their aesthetic, become wittily and pointedly ahead of their time.
THE INDEPENDENT 27-10-16
The ingenious set, designed by Chloe Lamford, is so versatile that the centre occasionally drops out of it to create an orchestra pit.
THE TIMES 27-10-16
Lavishly designed by Chloe Lamford, this is a show that both delights and moves you with constant reminders that there is a difference between genius and also-rans, however talented. On the huge Olivier stage, this Amadeus pulses and shimmers and trills and occasionally roars with the pleasure of great music. At some moments it is almost overwhelming; at other it is quietly moving.
THE ARTS DESK 28-10-16
... the amusingly anachronistic flourishes of Chloe Lamford’s design (Mozart wears DMs, Salieri scoffs a box of Dunkin Donuts)
TIME OUT 28-10-16
Chloe Lamford’s costumes – mile-wide panniers and spangly trainers – pop with colour and there’s a gleefully anachronistic quality to some of the dance scenes, the music throbbing as the masked cast cavort in slow motion. But for all its playful, punkish energy, the production is capable of tenderness and profundity too.
THE STAGE 27-10-16
"... the ensemble of musicians forms an integral part of the action, stalking Chloe Lamford’s stripped- back, abstract stage-area"
THE TELEGRAPH 27-10-16
Chloe Lamford’s *art-fully* shrunken set plays its part in celebrating the artifice of performance. Shadows cast by visible parcans fall rudely upon a thin curtain, as props are whisked onto stage by hurried stage managers. Falling cherubs make an occasional appearance, diving down over classical footlight shells, as two-dimensional homages to ancient architecture furnish rapidly transforming theatrical spaces. We travel from The Marriage of Figaro to Don Giovanni, following vanishing points and staircases that whisk us off to dusty corners of our imaginations.