Listen to me talking about my work with David Jays
Donmar on Design podcasts -
Matt Truman/Whats on Stage
But it's Rosie Elnile's design that does most of the work – an exceptional example of thinking through space. Flooding the space with colour, as she did with The Unknown Island at the Gate, she turns place into feeling – the yellow of home. Yet, even that colour itself is contested; either the saffron the couple left behind or the mimosa they find in its place; or maybe even a mix of the two. Orange tiles embedded into the carpet suggest both an abstract floorplan and excavated ruins and, just by moving a few bits of furniture – a table, some chairs – Elnile completely reshapes the space.
Matt Truman- Review of Returning to Haifa
Another star was Rosie Elnile’s design, which wrapped the audience in the same floating world as the actors. It has been inspiriting to watch women designers disprove the idea that females are (it used to be code in job ads) particularly good at “detail” . They are the most adventurous visualisers
Susanna Clapp - Susanna Clapp's Best Theatre of 2017 The Guardian
At Friday night's final Donmar on Design panel, on the future of design, the daring young designer Rosie Elnile and director Ellen McDougall talked through their work on The Unknown Island. Elnile covered the whole theatre – walls, floor and ceiling – in turquoise plastic. As simple, and startling, as that single choice
Matt Truman The Best Design Work Is Often Woefully Misunderstood Whats On Stage
Designer Rosie Elnile places the action in and around a 40° raked black stage, with a shallow bunker cut into it. This stage is mostly either drenched in red darkroom lights (really lovely, understated lighting design by Katherine Williams) or else is in darkness, lit only by torches held by Romeo and Baker.
Actually, the sheer artistry of the production design here probably merits a whole review of its own. It is *SO GOOD*
Andrew Haydon, - Review of Big Guns Postcards From The Gods