REVIEWS DARK WOODS DEEP SNOW @ Northernstage, Newcastle

There are stories and there are lies.

And I don't know which one is which.'

Set design & projection for Dark Woods Deep Snow

Garance Marneur's set of bleached winter trees and wonderful costumes were amazing; with innovative projections that flooded the set with huge snowflakes and then the iridescent shifting blue of darkness- gaspingly good!

THE NORTHERN ECHO

A thing of wonder, infused with candy-striped trees, levitating cabinets and glowing constellations of bulbs.

THE GUARDIAN

A hugely stylistic silvery white forest greets the audience as they enter the auditorium; shadowy shapes drift in and around the 'trees'. The darkest of woods... a time machine, a translucent box, reminiscent of Dr Who... and wonderful costume added much needed colour and humour which the children and adults loved. [...] There are some dramatic effects- a bit of climbing and some neat projections. One youngster was heard to describe the show as 'epic'.

THE PUBLIC REVIEWS

In the universe of Garance Marneur's's Maplins-punk costume design, that spirit of uncompromising, unpatronising space fantasy is everywhere. [...] The spectacle of Marneur's sylvan set design. [...] There is genuine magic.

EXEUNT MAGAZINE

A visual treat in creating a world where the high tech gadgetry is employed to save books and stories for our 'happily ever after'. The creativity of the production is very multimedia. The central ramp that brings the action from the stage into the audience is well used throughout the evening and the suspended bulbs around the stage and auditorium make the space feel magical. I had to ask a young member of the audience for their feedback on the show. The response was an enthusiastic 'EPIC!', which in my opinion is just what a story should be!

REVIEWS

The children were transfixed

BRITISH THEATRE GUIDE

WHATS ON STAGE ****

"An enchanting set and masterful cast. A Christmas treat"

THE CHRONICLE

Photograph by Topher McGrillis

Watch the trailer @

http://youtu.be/ZlQU5WW1k0E

More on the process and costumes coming soon!

Reviews on my designs for NARRATIVE, written and directed by Anthony Neilson @ the ROYAL COURT, London

Oliver Rix on the NARRATIVE set @ the Royal Court theatre

"The cast is very good at animating a deliberately fractured narrative across close to two hours, the various plotlines emerging like so many dramatic shards. Think of the jagged pieces of glass visible in Garance Marneur's modish rectilinear set as a visual equivalent of the script."

THE NEW YORK TIMES, Artful Storytelling and the Loopy Allure of Improvisation by Matt Wolf

From left to right: Zawe Ashton, Imogene Doel, Brian Doherty, Christine Entwistle, 

Barnaby Power, Oliver Rix and Sophie Ross.

"Narrative is a world of mirrors. Physically, they sit on worktops and are stuck to small pillars whilst the text is riddled with references to them. The most important ones are those in a small shallow pond, shattered and of various sizes, light bouncing off the dual reflective surfaces of the glass and the water. These mirrors symbolise Neilson's interrogation of the difficulties and problems which arise when we try to use art to directly mirror life. Though a full length mirror may demonstrate an image of what life is, it doesn't offer us an honest and full representation of the complexities of life. Far better, then, to look to fragmented pieces of glass. [...] The cast wear t-shirts adorned with photos of their younger selves, and there is always a sense that proceedings could suddenly take an unexpected turn. Garance Marneur's set supports this, and allows for the creation of a number of striking images."

THE HUTTON ENQUIRY, by Dan Hutton

"To one side of a sleek white design jewelled with blinking blue LEDs- Apple's smooth, clean lines extended across an entire theatre set- a screen hosts a projected cave painting: the earliest example of human narrative. [...] It's theatre for the multi-tab generation. And yet this is more than just a meditation on the ways that digital technology has rewired our thought and behaviour. Narrative is wired into our cultural DNA. [...] The modern focus on the individual keeps rearing its head. Mirrors are everywhere, both in the text and dotted around Garance Marneur's design, most strikingly as a scattering of reflective fragments in a shallow pool of water; in place of costume, the actors wear T-shirts adorned with photos of their younger selves, a statement of identity and personal narrative sitting against their skin. Here, the ability to tell one's story is depicted as central to contemporary experience."

Full article @ http://catherinelove.co.uk/2013/04/24/narrative-royal-court/

"Scenes swim in and out of inner landscapes and fantasy. The less-than-two-hour evening is delivered with bite and stylishness, greatly helped by Garance Marneur's sleek design."

THE GUARDIAN

Zawe Ashton & Oliver Rix

"Garance Marneur's sleek white modernist design features shards of broken mirrors, which reflect the nature of the play itself, in which we juxtaposed fragments of several different story-lines."

THE TELEGRAPH, by Charles Spencer

"Interesting ideas lie scattered among the white shards, mirrors and shattered glass of Garance Marneur's design. Egotism- our refusal to believe in our individual insignificance- and a restless search for authenticity are explored in the context of a plugged-in, techno-savvy modernity adept at forging its own, often ludicrous or trivial myths." 

THE TIMES, by Sam Marlowe

Imogene Doel

"In Narrative, Marneur's sparse spaced set of white washed walls and shattered mirrors, reflect our empty shattered lives, as we watch still waters polluted by piss and blood. Even the younger reflected innocent faces, underline the older egos. Completely washed away in the finale, by the filthy waters of life, leaving a clean line of enlightened innocence."

Public comment in THE GUARDIAN