Rose Theatre / Children’s Theatre Partnership / Touring

February - June 2024

Written by Nick Ahad

Directed by Monique Touko

Set and Costume designed by Lily Arnold

Lighting designed by Ryan Day

Sound Designed by Giles Thomas

Photos by Manuel Harlan

Press :

‘Monique Touko’s dynamic, pop-infused production does a good job of keeping up the momentum of the story, aided by Lily Arnold’s adaptable gymnasium set.’ **** Whats On Stage

Lyric Hammersmith

September 2023

Directed by Nicholai La Barrie

Set and Costume designed by Lily Arnold

Lighting designed by Richard Howell

Sound Designed by Asaf Zohar

Photos by The Other Richard

PRESS

‘A brilliant so-tasteful-it’s-a-bit-creepy revolving set from Lily Arnold’ Time Out

‘The carefully composed veneer of fashionable decorum is beautifully caught in Lily Arnold’s design: tall standard lamp; upright statue that looks at first glance like the palm of a hand forbidding entry but turns out to be a flattened ancient face; white fabric; a coffee table displaying art books (Francis Bacon a favourite). This revolves in tiny degrees throughout the evening while a ring of light on the periphery is slowly lowered, penning in the characters.’ The Observer

‘Lily Arnold’s slowly rotating set is the epitome of sophisticated minimalism.’ Theatre Weekly

‘Something that absolutely needs commending in God of Carnage, though, is the incredible set design by Lily Arnold. The set consists of an elegant, modern, minimalist living room in creams and whites, on a raised circular platform. Initially, this seems like nothing important, but gradually, very, very gradually, we realise that the platform is a turntable, and the set is moving.’ West End Best Friend

‘The set and staging choices of the performance are really what stand out in this production. Designed by Lily Arnold, events unfold on a circular platform that revolves at an almost imperceptibly slow pace.’ The Independent

Nottingham Playouse / Theatre Royal Stratford East

March / April 2023

Directed by Nadia Fall

Set and Costume designed by Lily Arnold

Lighting designed by Richard Howell

Sound Designed by Max Pappenheim

Photos by Marc Brenner / Lily Arnold

Leeds Playhouse / ETT / UK Tour , September 2022

Directed by Denzel Westley-Sanderson

Lighting designer - Zoe Spurr

Sound Designer - Beth Duke

Costume Supervisor - Sarah Holland

Photography by Mark Senior

THE TIMES ****

‘One of the most stylish Wildes ever staged…the designer Lily Arnold dresses everyone to the nines but with wit and style and focus. Her dark green walls become transparent when characters need to be seen eavesdropping. An apple tree marks the transition between town and country with simple beauty. Stunning’

THE STAGE ****

‘Lily Arnold’s design is a wonder’’

WE ARE THE BEST!

Based on the graphic novel NEVER GOODNIGHT by COCO MOODYSSON

Written by Rebecca Glendenning

Live Theatre Newcastle, May 2022

Directed by Jack McNamara

Set & Costume Design by Lily Arnold

Lighting Design by Lucía Sánchez Roldán

Sound Design by Mariam Rezaei

Costume Supervision by Lou Duffy

Photography by Von Fox Promotions and Lily Arnold.

Press:

‘He is well-served by Lily Arnold’s bold design, which transforms the compact stage at Live into part after-school club, part skatepark, giving the show a kinetic energy that reflects the vibrancy of its youthful characters.’ The Stage ****

‘Ingenious yet simply designed set’ The Reviews Hub *****

ALADDIN

Written by Vicki Stone

Lyric, Hammersmith, November 2021

Directed by Abigail Graham

Set Design by Lily Arnold

Associate set design by Good Teeth Theatre

Costume design by Kinetic Isadore

Lighting Design by Sally Ferguson

Sound composition and arrangement by Corin Buckeridge

Choreography by Chi-San Howard

Press:

Leopards

Written by Alys Metcalf

The Rose Theatre, Kingston, September 2021

Directed by Christopher Haydon

Set & Costume Design by Lily Arnold

Lighting Design by Colin Grenfell

Sound Design by Gareth Fry

Photography by Iona Firouzibadi

Press :

Room

Written by Emma Donoghue

The Grand Theatre, London, Ontario. March 2020

CAA, Mirvish, Toronto, April 2020

Directed by Cora Bissett

Set & Costume Design by Lily Arnold

Projection Design by Andrzej Goulding

Lighting Design by Bonnie Beecher

Photo by Dahlia Katz

Press :

‘Its all supported by fabulous set, sound and lighting designs…The set is on a revolve that is essential to maintaining the flow and energy of the show, enhancing the critical elements of urgency and suspense.’ ***** London Free Press

I Cinna (The Poet)

Written and performed by Tim Crouch

Unicorn Theatre, January 2020

Directed by Naomi Wirthner

Set and Costume Designed by Lily Arnold

Lighting and Video designed by Will Monks

Sound designed by Owen Crouch

Photography by Helen Murray

Press:

‘Lily Arnold’s set is backed by a large swathe of crumpled paper on to which Will Monks’ violent video imagery of riots flash up during startling moments accompanied by Owen Crouch’s soundscape, bursting from near-silence into pulsating, insistent beats. This, along with Crouch’s enthralling storytelling, combines to give the show a relentless sense of urgency.’ The Stage ****

Theatre Royal Stratford East, November 2019

***NOMINATION*** BEST SET DESIGN, Great British Pantomime Awards

***NOMINATION*** BEST PANTO, Off West End Awards

Directed by John Haidar

Lighting by Jess Bernberg

Photography : Ikin Yum

Press :

‘One of the production’s biggest assets is the delectable set and costume design by Lily Arnold. Roy’s wafer-print tights and Mr Whippy hair are consistently amusing, and his ‘Half Price Mojito’ dress is an early contender for dame outfit of the season.’ Rosemary Waugh, The Stage ****

‘Award-winning designer Lily Arnold creates some brilliantly elaborate pieces for the Stratford East stage’ WhatsOnStage ***

‘a magical set design…outrageously loud and crazy costumes designed by Lily Arnold.’ London Box Office.co.uk ****

June - September 2014

Associate Designer

Working for lead designer Tom Piper to design and install the three structural feature sections of the exhibition in the moat of the Tower Of London - The Weeping Window, Over The Top and The Wave.

“The most popular art installation as well as arguably the most effective expression of commemoration in British History”

– Edwin Heathcote, Financial Times 2014

Camden People’s Theatre, October 2019

Directed by Natasha Nixon

Lighting designed by Amy Daniels

Photography by Harry Elletson

Lyric Hammersmith, September 2019

Directed by Rachel O’Riordan

Lighting designed by Kevin Treacy

Photography by Helen Maybanks

PRESS:

‘A delectable design by Lily Arnold’ The Sunday Times ****

Lily Arnold’s courtyard set, magnificent to look at with its balconies and tree growing in the middle’ The Times ***

‘Lily Arnold’s striking courtyard set, with its delicate tree and its imposing doors waiting to be thrown open, reaffirms the sense of Niru being kept in a pretty prison.’  The Stage ****

‘It all fits seamlessly into the Indian setting beautifully realised by Lily Arnold's design for a courtyard house with its terracotta walls and a banana tree growing high into the sky’ WhatsOnStage **** 

‘The sal tree at the centre of Lily Arnold’s stone-washed quad reaches to a dizzying height. Your eye is immediately drawn to it, to the way its slim grey trunk arcs up and up, leaves peering through a skylight. It’s a beautiful space, but chilly. More of a museum than a home.’ Exeunt ****

Unicorn Theatre

June- August 2019

Directed by Rachel Bagshaw and Justin Audibert

Lighting designed by Jai Morjaria

Photography : Alicia Clarke and Lily Arnold

PRESS:

Lily Arnold’s colourful and clean-lined setting uses ribbons of light to frame an arch through which what looks like a huge cardboard box can be pushed that provides different settings and downstage sets a huge orange button, with big matching lamp shades hanging high above. When the cast press the button, lights flash and a new story starts. British Theatre Guide

Design by Lily Arnold features an inventive mix of giant cardboard boxes, buttons and even cake-wielding mums. The Stage

Royal Court Theatre, March 2019

Photography by Helen Murray / Tristram Kenton (pic 1)

Directed by Debbie Hannan

Lighting by Jessica Hung Han Yun

PRESS:

‘Designer Lily Arnold's backlit set is simple but effective, with some stunning pyrotechnics that feel genuinely alarming within the close confines of the Jerwood.’ Jane Kemp, WhatsOnStage

‘Really extraordinary coup de théâtre’ Andrzej Lukowski, Time Out

Royal and Derngate, Royal Theatre / Out Of Joint

Directed by Christopher Haydon

Lighting designed by Mark Howland

Video designed by Andrzej Goulding

PRESS:

‘Lily Arnold’s set is clean, uncomplicated and carries an exquisite visual power: gilt panels glide along the stage to convey old-world English opulence but also subterfuge, secrecy and shadow worlds.’ Arifa Akbar, The Guardian ****

‘Filmic beauty…Lily Arnold’s gorgeous set is a sliding montage of teal green and gold wall partitions.. The embossed structures resemble neoclassical tombstones, as if this is all a graveyard for a lost era.’ The Stage

‘Overlapping scenes look beautiful, thanks to designer Lily Arnold’s gorgeous, gilt-framed, sliding panels’ Clare Brennan, The Observer

‘A stunning but simple set of sliding panels in verdigris and gold which conceal or reveal significant people and tableaux’ Whats On Stage ****

Sleeping Beauty, Theatre Royal Stratford East

*****WINNER***** BEST COSTUME, Great British Pantomime Awards.

**NOMINATION** BEST SET DESIGN, Great British Pantomime Awards.

December 2018, London

Directed by Matthew Xia

Lighting designed by Ciarán Cunningham

Photographs  by Scott Rylander and Lily Arnold

Press:

NOMINATED FOR 2 OFFIE AWARDS : BEST SET AND BEST COSTUME 2018

‘beautifully designed’ The real star of the show is designer Lily Arnold. She has created a stunning and diverse array of settings and costumes that perfectly complement the occasionally over-complicated story. Paul Vale, The Stage ***

‘Lily Arnold’s marvellous design deserves the very best. From the candy-pop fairy’s workshop to the old crone’s forest shack, every new set is a treat, with a pleasing, polygonal backdrop hitting a the high tech adventures to come. The costumes are even better- Pearl resembles Dame Edna Everage dressed as an ice-cream sundae and Mautitius’ enormous black talons click clack horrifyingly. Instead of wings the fairies have large golden keys on their backs. A feast for the eyes, this is pantomime at its most magical.’ The Times ***

Love Lies Bleeding, Print Room at the Coronet

November 2018, London

Directed by Jack McNamara

Lighting designed by Azusa Ono

Photographs  by Tristram Kenton and Lily Arnold

Press:

‘Gorgeously designed by Lily Arnold, the set superbly evokes the southwestern setting. A claustrophobically small square of wooden decking is surrounded by a monumental emptiness of sand, scrub, and desert flowers. A vast mirror fills the rear wall, at times serving as a canvas for Andrzej Goulding’s atmospheric video work featuring churning clouds and fragmentary faces. At other moments, it starkly reflects the characters, each one ultimately alone in an expanse of profound blackness.’ Dave Fargnoli, The Stage ****

‘Handsomely designed by Lily Arnold’ Sam Marlowe, The Times ***

‘Exquisite and lavish design…The set is the real centrepiece of the production. Lily Arnold covers the stage of the Print Room with sand, making it pour out of the niches at its sides. A wide, shiny wooden deck holds very hygge furniture and a tall wall in the same style of the platform with a large mirror. This hides a massive box of sorts which hosts some of the action but is mainly used as a screen.’ Cindy Marcolina, Broadway World ***

Things Of Dry Hours, Young Vic Theatre

August 2018, Clare Studio

Directed by Debbie Hannan

Lighting designed by Prema Mehta

Photographs  by Lily Arnold

Shakespeare at the Tobacco Factory. Ustinov Theatre, Bath , Bristol Tobacco Factory and touring.

June-November 2018

Directed by Elizabeth Freestone

Lighting design by Matt Graham

Photographs by Craig Fuller / Lily Arnold

Press:

‘Lily Arnold’s simple but effective set – four metal cages filled with stones – shifts from podium in the opening scenes to trenches in the second half. The soldiers cluster around them, injured and exhausted.’ Natalie Haynes, The Guardian ****

‘Lily Arnold’s set turns the Ustinov Studio into a theatre of war that facilitates the epic and the intimate. Stacked metal cages filled with shale suggest trenches and dugouts, and supply a punishing metallic clamour during battle scenes.’ Sam Marlowe, The Times ****

West Yorkshire Playhouse, May 2018

Directed by Joe Murphy

Lighting by Lizzie Powell

Photography by Richard Davenport

Press:

‘Striking and stylish… designer Lily Arnold has created a box suggestive of a train window that contains, at its centre, a swirling painting that stands in for the void of Rachel’s memory.’ Natasha Tripney, The Stage

Dublin Carol , Sherman Theatre, Cardiff

Directed by Matthew Xia

Lighting designed by Ciarán Cunningham

Photography  Mark Douet and Lily Arnold

Press:

The play's set design is exceptional. The Sherman's studio space is transformed into what is almost a fully functioning office, complete with carpet, desks and Christmas decorations.  Jafar Iqbal , Whatsonstage ***

Reminders of religion are peppered throughout Lily Arnold’s extraordinarily detailed set design. The Virgin Mary is crammed in behind the coffee tin. Jesus peaks out from behind a cheap and shiny festive streamer. A crucifix can just be spotted in the hallway. Rosemary Waugh, The Stage ****

The Secret Garden, Theatre By The Lake, November 2017-Jan 2018

Adapted by Jessica Swale

Directed by Liz Stevenson

ighting designed by Matt Leventhall

Photography : Lily Arnold

Press:

'SUPERBLY DESIGNED..The design is the star. Lily Arnold’s set, ably lit by Matt Leventhall, is dotted with winter trees and  dominated by a ‘house’ whose exterior surfaces are alternatively reflective and transparent. This brings a surreal and occasionally gothic quality to the live action.'   Stephen Longstaffe, The Stage ****

'It’s hard to imagine how one could effortlessly whisk an audience from a balmy Indian evening to the confines of a cold single room in a dark, daunting English mansion but designer Lily Arnold does it brilliantly. The set, which includes a partitioned metallic box centre stage, is beautifully versatile. One minute conjuring up an atmospheric dense woodland, the next it reveals a solitary study or lonely boy’s bedroom.' Tracy Walker, North West Mail

Queens Theatre, Hornchurch, November 2017

Directed by : Ryan McBryde

Lighting designed by : Nic Farman

Photography : © Mark Sepple (Images 1 and 2) 

Press:

'Lily Arnold’s set is a masterpiece, constructed largely of cabinets, suggesting the laboratory, with two levels, gas-lamps and multiple doorways. Griffin’s rooms at the university, and his lodgings at the inn at Iping, are pulled in from the wings.'  Michael Gray, The Reviews Hub ****

'...a certain ghoulish, gaslight charm, assisted by Lily Arnold’s richly decorated, rolling-stock set'  Fergus Morgan, The Stage ***

Royal and Derngate, Royal Theatre / ETT Tour

Directed by Simon Godwin

Lighting designed by Matt Daw

Video designed by Andrzej Goulding

Theatre Royal Stratford East, Dundee Rep, The Abbey Theatre 

Directed by Cora Bissett

Lighting by David Plater

Video design by Andrzej Goulding 

Photography © Scott Rylander and Lily Arnold

PRESS:

'The set by Lily Arnold, is a thing of genius' Ann Treneman, The Times ****

‘Ingeniously staged…Lily Arnold’s set swirls and revolves' Michael Billington, The Guardian ****

’Stunning visual design’ Paul Vale, The Stage ****

Swan Theatre, Royal Shakespeare Company

Directed by Justin Audibert

Lighting by Anna Watson

Photographs by Ikin Yum © RSC

Soho Theatre, November 2016

Written by Adrian Edmonson and Steve Marmion

Directed by Steve Marmion

Lighting by Amy Mae

It’s the design by Lily Arnold that ties the monologue together. Hanging over a spotless, clinically white stage is an array of children’s toys on hooks. Every prop he uses – a laptop, a chair in a coffee shop - is a plastic, Fisher Price toy version. This toy box looms above him, Damoclean, and consuming all his thoughts, making the case that it's all – always – about his boy.  The Stage ***

To say that the set design is eye catching would be an understatement, as spectators are greeted by a vista of floating children’s toys. There is a Beano annual, a child’s playhouse and a glow-in-the-dark skeleton among many other brightly coloured trinkets, and credit must go to Lily Arnold for producing this wonderful spectacle. The Upcoming*****

Those objects which aren’t utilised by the actor hang over him emitting metaphoric potential. It’s a marvellously creative yet simple design.  Everything Theatre ***

Live Theatre and Paines Plough, touring winter 2016

Written by Tom Wells

Directed by James Grieve

Lighting designed by Josh Pharo

Roundhouse , June 2016

Last Word Festival Grand Finale

Video projection by Eyes On The Wall 

Arcola Theatre / Hightide Festival  April  & September 2016

Directed by Steven Atkinson

Lighting by  Elliot Griggs

Photographs by Nobby Clark and Lily Arnold

Designer Lily Arnold’s impressive, multi-level set is now neon-edged, a marketplace of mass-produced, imitation goods and dead-end factory jobs. Mao’s goal of overtaking the rest of the world has come true, but with only cynical lip service paid to socialist principles.   Tom Wicker, The Telegraph ***

WOW Festival, Southbank Centre, March 2016

(Co Produced with West Yorkshire Playhouse)

Written by Eve Ensler

Directed by Mark Rosenblatt

Lighting designed by Lizzie Powell

Photography by Alice the Camera ©

Unicorn Clore Theatre, February 2016

Directed by Tim Crouch

Written by Gary Owen

Lighting by Phil Bentley

Photographs by Richard Davenport

The Bush Theatre, December 2015

Directed by Steven Atkinson

Lighting designed by Elliot Griggs

Photography : Helen Murray

Northern Stage

Directed by Annie Rigby

Photographed by Topher McGrillis

Lily Arnold's set is full of charming detail, with a moveable shop counter that becomes a launch pad and lots of decorative houses and buckets, all lit with a little Christmas magic, hanging from the rigging.  The Stage

'The set is flexible, wonderfully detailed and full of surprises' British Theatre Guide.

Southwark Playhouse, October 2015

Directed by Kate Hewitt

Lighting by Johanna Town

Photography by Richard Davenport

Lily Arnold's slick, symmetrical set which is distorted in the funhouse mirrors that bookend the stage...the stretched, amorphous shapes reflected back at the audience are a clever visual subversion at the doctors' attmept at scientific precision. Exeunt Magazine..  

Theatre Royal Plymouth Drum June 2015, Edinburgh Pleasance Dome, August 2015

Directed by Amit Sharma

Lighting by Ian Scott

Photographs by Patrick Baldwin

West Yorkshire Playhouse, touring and Edinburgh Fringe 2015

Directed by Tom Wright

Lighting designed by Tim Skelly

Projections by Dave Lynch

Photographs by Richard Davenport

The set itself is a delight to look at, traversed with coloured wires and transformed by Dave Lynch's ambitious visuals, seeming to knock down the walls themselves or project a spinning London panorama. Broadway Baby

Tom Wright deserves credit for tying up so many loose ends into a comprehensible whole through his adept direction while Lily Arnold’s design frames the action perfectly.The Reviews Hub

The Swan Theatre, Stratford Upon Avon March-September 2015

Directed by Justin Audibert

Lighting by Oliver Fenwick

Photographs by Ellie Kurttz

Audibert conjures up the factions brilliantly with the help of Jonathan Girling’s music and Lily Arnold’s design. Susannah Clapp, The Observer ****

A dedicated, beautifully-costumed company take the play along at a terrific pace. Birmingham Post *****

Lily Arnold’s effective set is simple: solid stone steps lead down to a flagged floor in which is set a trap covered by an iron grille. A rectangular basin of water suggests purity and is useful for enforced baptism and ritual cleansing. In contrast, the period costumes are sumptuous, many in glowing greens, reds and purples, the Turks in elaborate turbans and upturned shoes. The Stage 

Historic Royal Palaces : The Tower Of London

2014

Associate Designer

Ceramic Artist : Paul Cummins

Designer : Tom Piper

The Marlowe Theatre/Soho Theatre, October/November 2014

Directed by Justin Audibert

Lighting by Andy Purves

Lily Arnold’s ingenious set sees Arty placed on a makeshift platform of a bed, surrounded by junk of both the food and stuff varieties. Fiona Mountford, Evening Standard ***

The play is an incredible set piece. Every corner of the stage is filled with one food wrapper or another, making for a gastronomic sea that undulates around Arty, beached by his uncontrollable addiction. The attention to detail is impressive and would not look out of place in a Wes Anderson film, renowned for their clockwork like meticulousness.  A Younger Theatre

The Gate Theatre, September 2014

Directed by Christopher Haydon

Lighting by Mark Howland

Time Out, Critics Choice **** 

Lily Arnold’s design is incredibly striking, offering a collage of gorgeous ornate mirrors, colourful flowerbeds and antique furniture on a raked wooden stage, creating an atmosphere of intrigue and effectively setting the tone for the piece. A Younger Theatre 

Themes are emphasised by Haydon and designer Lily Arnold, who have ramped the gothic up to 11 in their gruesomely picturesque production. Bernadette is reflected everywhere, in grimy distorting mirrors. Exeunt Magazine ****

Derby Guildhall and touring

Directed by Jack McNamara
Lighting  by Mark Pritchard

Hightide Festival / Brits Of Broadway Festival,  April 2014

The Gallery, Halesworth / 59E59 Theatre

Directed by Steven Atkinson

Written by Harry Melling

Lighting by Azusa Ono

Photography by Bill Knight and Lily Arnold

 Lily Arnold's design, which uses thick textured plastic fabric to cage Melling in, creates a wonderful sense of claustrophobia and tension. Eve Stebbing, The Telegraph ****

'A splendidly designed production..the gauze that encases Lily Arnold’s set ..affords us an intimate, appropriately smudgy perspective' Laura Collins-Hughes, New York Times *****

'Peddling elevates the material with inventive staging...Director Steven Atkinson and designer Lily Arnold isolate Melling in a translucent eight-by-eight cage. ' Elisabeth Vicentelli, New York Post ****

'Cleverly encased in a canvas-wrapped cube by scenic designer Lily Arnold, Boy circles the crate like a feral wolf.' Jason Clark, Entertainment Weekly

Polka Theatre, April 2014

Directed by Michael Fentiman
Lighting by Tim Lutkin

Puppets by Sue Dacre

'Michael Fentiman’s direction keeps things moving, with some dashing through the auditorium to increase audience contact, and a lot of help from Lily Arnold's design' British Theatre Guide

Photography by Lily Arnold and Robert Workman

National Theatre, Shed, 2014

Park Theatre, 2013

Directed by Alex Sims
Lighting by Joshua Carr

It is a play that is clearly presented and elegantly set by designer Lily Arnold to be swift moving. A simple platform, with sometimes lit panels and a few stools, forms the centre of an acting area that can spread into the audience. Howard Loxton, British Theatre Guide

Photography by  Special Relationship Productions

Park Theatre, March 2014

Directed by Justin Audibert

Lighting by Josh Pharo

Young Vic, Clare (parallel production), December 2013

Directed by Natasha Nixon
Lighting by Nicky Brown

Photography by Helen Murray

Directed by Jack McNamara
Lighting by Andy Purves

Really, really enjoyed The Boss Of It All at Assembly. Smart, beautifully staged satire on business, theatre and the life roles we play.  Lyn Gardner  (Twitter)

An elegant Nordic design by Lily Arnold **** Mark Fisher, The Scotsman

The set design was flawless. Fixed faux neon lights and movable frosted glass combined to ensure that the space maintained an office atmosphere, but with the flexibility of different rooms.  ***** Ashley Chibber, EdFringe Review

Photography by  Pamela Raith

RSC Swan Theatre and Royal Lyceum Theatre, Edinburgh, 2013

Directed by Elizabeth Freestone
Lighting by Vince Herbert

Written and composed by Elizabeth Freestone, Camille O'Sullivan, Feargal Murray 

 
A beautiful, solemn set by Lily Arnold: Tall frames with abstract ragged flames emerging from blackness. ****  Libby Purves, The Times

A show which is beautifully and subtly set and lit **** Mark Brown, The Telegraph 

 The direction, songs, design, lighting and Shakespeare's glimmering poetry all shine in this Royal Shakespeare Company production.  Lily Arnold's stark design, lit atmospherically by Vince Herbert, features piles of papers and huge, framed abstract paintings that seem to sear the walls with splashes of grim colour resembling flames or shadowy figures. ***** Kate Herbert,  Herald Sun (Sydney Festival) 

Lily Arnold’s austerely beautiful set richly contributes to the portrayal of Shakespeare’s sensuous and horrific world. ****  Sarah Keating, Irish Times

Young Vic, Clare (parallel production), 2013

Directed by Justin Audibert
Lighting by Andy Purves

Photography by Helen Murray

The Gate Theatre, 2013 

Directed by Justin Audibert
Lighting by Andy Purves

The set bisects the Gate's small space with an angled traverse (audience on both sides) and looks brilliant. **** Chris Hislop, One Stop Arts

The production’s ingenuity arises also from Lily Arnolds’s masterful set design; the narrow white platform the characters inhabit is a liminal space both devoid and all-encompassing of place and time – a sleek, minimalist hybrid of hospital, asylum and a hyper-modern boutique where the costumes hang on the walls, suggesting these lives are already mapped and the pair must helplessly play their parts. Devawn Wilkinson, A Younger Theatre

Photography by Ludovic Des Cognets

Hampstead Theatre Downstairs, 2010

Directed by Michael Fentiman
Lighting by Richard Williamson

Belgrade Theatre, Coventry, 2011

Directed by Michael Fentiman
Lighting by Glyn Edwards

A gloriously shambolic supermarket set by Lily Arnold, a designer with a keen eye. Roderic Dunnett, The Stage

Directed by Kate Sagovsky

Royal Shakespeare Company, Swan Theatre and YPS tour

Directed by Tim Crouch 
Lighting by Simon Baylis

Ovalhouse Theatre, 2013

Directed by Justin Audibert
Lighting by Richard Williamson

 The director does the best with what he’s got, largely thanks to a classy, monochrome Lily Arnold design that nods to music hall and silent cinema. Matt Trueman, Timeout.  

Photography by Ikin Yum Photography

Royal Shakespeare Company YPS tour, UK and NYC, 2012

Directed by Tim Crouch