VCA DESIGN & PRODUCTION
GRADUATE SHOWCASE
GRADUATE SHOWCASE
Set design for The Visitors by Jane Harrison, 2025
The set is built on a thrust stage with a distinct material and colour that creates a vague boundary between actors and audience despite their close proximity. This reinforces the audience’s passive complicity in the events of the performance. Neutral tones and shared textures across the stage, ceiling, and scenic elements form a minimalist “blank canvas,” contrasted by actors in dark suits. Translucent fabric diffuses light to evoke natural sunlight and heat, whilst the rock-like structures upstage suggest a natural setting. Practical considerations include a footwell around the central table for actor's comfort and unobstructed sightlines for the audience seated on three sides.
Costume design for Isabella Bird from Top Girls by Caryl Churchill, 2024
This design highlights her bold, outspoken personality and rejection of traditional Victorian female roles. The costume balances feminine elegance with practical explorer elements , featuring patterned fabrics, a high-neck blouse, long skirt, and shawl paired with utility trousers and boots. These layers symbolise her individuality, confidence, and adventurous spirit.
Set design for Eurydice by Sarah Ruhl, 2025
This design resembles a fragmented memory of childhood through an abstract circus aesthetic, with whimsical yet eerie undertones. It creates a visual and spatial transition between the overworld and underworld, using motifs and contrasting elements to physicalise the shifts between worlds, relationships, and emotions.
Costume design for The Swallow from The Happy Prince by Oscar Wilde, 2024
This concept focuses on his early, self-interested character before his transformation. The costume combines a ballet-inspired silhouette with visual references to the swallow’s form. Sheer wing-like fabrics, a forked tail, and a noble pose combined with cool blues, reds and neutrals evoke both the bird’s natural palette and the character’s proud, distinguished presence.
My creative practice explores the interplay of space, movement, and materiality.
This process is rooted in curiosity and the desire to explore human interaction and emotion, seeking to create immersive worlds that blur the boundaries between audience and performer.
I am fascinated by the use of textiles as a design language; Their tactile qualities possessing the ability to manipulate space, form and narrative through texture and motion. This material focus reflects the intention woven into my work— to create a fulfilling sensory experience that allows viewers to feel as much as they can see.