“Grit and hope are fused together in Peter Butler’s set. Metal beams resemble cranes that allude to the industrial site – in one argument, they lower and compress the characters as though they can’t escape it. They’re also lined with carnival bulbs like dreams overhead, which Robinson often looks up at. Her face seems a bulb itself, lighting up with hope”. 

- Matt Barton, Whatsonstage 

“Designer Peter Butler’s imaginative but unobtrusive, period-perfect set and shabbily stylish costumes complete the effect of a production that breathes fresh life into a play that, six decades on, still has the power to connect”.

- Chris Bartlett, The Stage

“Designer Peter Butler has created a sleek, spartan setting – instantly suggesting a well-to-do east London gallery”. 

- Paul Vale, The Stage

“[The] play is well-served here by director Nicky Allpress in a brisk staging, stylishly designed by Peter Butler”. 

- Nick Curtis, The Evening Standard

“Peter Butler’s playful design captures the turn of the millennium setting, with baggy, grungy fashions recreated for cringey comic effect. ”.

- Dave Fargnoli, The Stage

“The production comes with period elements intact from 90s music (Air, the Chemical Brothers) to cultural references (Women’s lib, American Gigolo), and Peter Butler’s set is made up of suitably soulless blank white lines with occasional neon and light showers”. 

- Arifa Akbar, The Guardian

Interviews + Features:

“It was really freeing because it meant that I could respond to it by way of feeling, rather than having a script and responding to the emotions evoked from the text.”

- Interview, Drama & Theatre, March 2023