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4.48 PSYCHOSIS 

Set & Lighting Design

LIPA production
 

The writers final play examines clinical depression, dissociation and death. This staging was centred around ‘Sarah 1’ and then 3 other versions of ‘Sarah.’ 

The design embodied this sensation of vast emptiness with an elongated stage and 450kg of black sand. The large black stage crossfaded from a shiny and smooth surface to uneven opaque black dunes in which Sarah was lost.

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Director: Nick Bagnall

Set/Lighting Designers: Lotus Choffel & Anne-Maria Nystad

Costume Designer: Roisin Jenner 

Sound Designer: Jonah Rogers

Production: LIPA

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ZONES D'OMBRES 

Set, Lighting and Video Design

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Part of the diptych Dérives this first part combines the different aspects of orality. Alternating between slam, singing and rap, this poetic concert makes us discover the story of an individual. As the Ulysses of modern times, the character decides to leave the deep rurality in which he was born to loose himself body and soul to the violent urbanity of the MEGAVILLE.

Director: Christophe Tostain 

Set/Lighting/Video Design: Lotus Choffel

Bass: Alexandre Simoni 

 

Coproductions:
Le Trident Scène Nationale de Cherbourg, l'URFR de Poitou Charentes

Support:
Théâtre Artéphile, Théâtre des Miroirs, Ville de Cormelles le Royal, Médiathèque les 7 Lieux (Bayeux), l'Autre Lieu

LE DERNIER APPARTEMMENT

Set and Lighting Design

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In an apocalyptic setting, a character is left alone in an apartment. We believe that several people used to live there and had to leave in order to find help. The character left behind reminisces the presence of other human beings, and with the growing solitude he slowly drowns into madness. 

Inspired by the atmosphere found in Waiting for Godot, we are plunged in the absurdity of the mind of this character when confronted to a prolonged isolation.



Director: Christophe Tostain 

Set/Lighting Design: Lotus Choffel

 

Coproduction:
Tanit Théâtre (Lisieux, France)

THINGS LOST

Set, Costume & AV Design

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In this devised play the immersive design aims to physicalise time passing, with actors moving through the space covered in chalk and leaving their marks, they enumerate short stories of loss and absence.

All the costumes were made with organza to play with transparency and expressing the 'memory' of the garment. Taking inspiration from the Do-Ho-Suh installations.


Director: Kerry Frampton

Set, Costume & AV Designer: Lotus Choffel & Chelsea Boyce
Lighting Designer: Charly Dunford

Sound Designer: Adam Parker

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LOVEPLAY

Moira Buffini

Speculative Set Design

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Depicting love stories from Antiquity to modern times, the set acts as a camera in reverse: 

At each change of scene (new era) a significant painting or piece of art of that time is projected on the three walls surrounding the audience, a drop of water fades the projections and the scene starts. The characters in each scene match the mood and colours of the piece of art projected; the image becomes reality (reverse camera)

One element stays throughout the play: the fountain - inspired by the fertility fountains in Indonesian culture. More than fertility it represents time passing as the sound of water running is present throughout.

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Collaboration with director Francesca Goodridge

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ENTERTANING Mr SLOANE

Joe Orton

Speculative Set & Costume Design

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The set aims to underline the perverse behaviours of the characters. Treating the space as a character in itself, reflecting the depravity of their interactions all the while keeping a touch of humour:

Kath rips pieces of wall paper to frame and hang them as decoration,

Black mould will spread on the walls throughout the play (projection).

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Collaboration with director Fiona Buffini

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