From Ibiza to the Norfolk Broads 

‘Misfit teen Martin goes in search of his absent father and his pop idol in a sharply observed, compelling one-man show….’

Lyn Gardner’

‘Andie Scott’s stage set – costumes worn by the late David Bowie suspended along the walls in translucent covering – makes one assume that From Ibiza to the Norfolk Broads is going to be a tribute act. Got that wrong – although The Thin White Duke is an essential element Adrian Berry’s play is a harrowing and riveting study of a mind that is, well, under pressure….. From Ibiza to the Norfolk Broads achieves two of the things that Bowie managed throughout his career – it confounds expectations to be a complete surprise and is of very high quality.’

‘On a simple set (designed by Andie Scott) of varying decking levels and a couple of black boxes of different sizes surrounded by walls of what seems like semi-transparent strips of wrapping material, giving us the sense he is inside a box, Alex Walton, directed by writer Adrian Berry, tells Martin’s story…..A fascinating exploration of a disturbed mind, intelligently written superbly performed’


 Mary’s Hand

‘Special mention must also go to Andie Scott and Sophie Meyer for their stunning creation: Mary’s costume takes on a life of its own, undergoing an unravelling transformation in parallel to its wearer, it’s a stunning piece of work and through Di Sherlock’s masterful direction, becomes a real highlight of the piece.’

‘McCaldin’s regal dress,meticulously designed . It is so life-like that it takes the performance back to the Tudor era, as if the Queen herself was standing right in front of us.’

‘Her beautiful dress, recreated from a portrait of Mary by Hans Eworth, is practically a character in itself…. layers of the outfit are gradually peeled back – so that at the end Mary stands only in an undershift, having it seems defined herself independently of her office.

S’he starts the opera wearing a spectacular reconstruction of the dress she wears in her coronation portrait. As more of her thoughts and feelings are exposed, so she sheds the outer layers of her outfit. As this is a new opera with, I hope, many more performances to come in future, I am actually aware of ‘spoilers’ – and even though many facts of Mary’s life are on record, the interpretation and insights of the opera’s final scenes are deliberately delayed and worth experiencing unforeseen (“You shall hear how nature did play false / when last I play this card”). So, without going into too much detail – more than just a simple show of ‘undressing’, the costume in which we last see Mary has its own powerful symbolism (sacred? medical?), as much as the surface robes we see her reassemble, empty of their wearer.

Miss Havisham’s Expectations

‘The iconic Miss Havisham look, a skeletal old lady in a decaying wedding dress, is created beautifully. And the costume design was my favourite part of this show; the two ‘Estella’ dresses are quite breathtaking, glistening like sweetie wrappers. ….’


From Trafalgar studio reviews  with the ‘ghost’ version of the set

‘Enter Linda Marlowe in decaying wedding dress, made up like someone who hasn’t seen the sun for decades. The colourlessness is accentuated in the design work (Andie Scott), with a white, silvery and transparent set presented against a black background.’

‘Boasting a minimalist yet imaginative and effective set…’

‘The stage is largely kept simple, and this works, allowing it to become the location for any number of schemes and memories.’