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Click on the name of the show for additional
images.
The
Mystery of Edwin Drood
Warehouse Theatre, Croydon 2007
| 'Cleo Pettitt's designs are a marvel, conjuring the Victorian
Theatrical setting, the cobbled streets of Dicken's cathedral
City of Cloisterham, a pungent East End opium den and even the
startling on-stage arrival of a steam train.' |
|
 The
Times, Sam Marlowe |
| 'It is much aided by Cleo Pettitt's atmospheric set that instantly
turns the Warehouse into the Music Hall Royale with a cut-out
representation of Cloisterham High Street brilliantly created
behind the prosc arch... resourceful and intimate.' |
| The
Stage, Mark Shenton |
| 'Cleo Pettitt's picture book design evokes exactly the right
two-dimensional backdrop for the flamboyantly non-sensical drama
that follows.' |
| Time
Out |
| 'Designer Cleo Pettitt's intimate proscenium arch setting
conjures up the lost world of barnstorming' |
| What's
On Stage |
Ladies' Cage
Royal Exchange Studio, Manchester 2007
| 'Performances are enhanced by a simple yet thoughtful set
design by Cleo Pettitt' |
|
| Extra!
Extra!, Fiona Doyle |
| 'The Ladies' Cage, a screen keeping women observers apart
in the House of Commons, stands for their oppression in politics,
society and history. Cleo Pettitt's overarching, wooden structure
aptly encloses characters between two banks of audience, towering
over them officiously.' |
| ReviewsGate.com |
| 'The production has many merits, notably the staging and the
cast... the traverse set is innovative.' |
| The
Stage, Alistair Smith |
| 'John Terry's slick production, along with designer Cleo Pettitt,
brought together the two contrasting worlds of 1880s Ireland
in a striking way.' |
| British
Theatre Guide, Peter Latham |
Missing
Persons
Trafalgar Studio 2, West End 2006
| 'Performed by Greg Hicks on Cleo Pettitt's set of timbers
twisting skywards, which suggests both a shipwreck and a staircase
between past and present, the work intruigues.' |
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| The
Times, Sam Marlowe |
| 'For this production, designer Cleo Pettitt has flooded the
Trafalgar Studio 2 stage. Above the water sits a platform of
planks, fluid and arching from wall to floor. Very few props
are used; very few are needed. All we need to know is expressed
through Colin Teevan's visceral verse and Hicks' performance.
In the intimate confines of Trafalgar Studio 2, one can see,
more than ever, the nuances and style that grew Hicks' reputation' |
| Official
London Theatre, Matthew Amer |
The
Snow Queen
Creation Theatre - BMW Group Plant, Oxford 2005
| 'A car factory makes an unusual place for a Christmas show,
but BMW's faithful relationship with Creation Theatre gives
them a cavernous industrial space that the designer, Cleo Pettitt,
has filled imaginatively, with a soundscape from Peter Lole
to match.' |
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| Sunday
Times, Robert Hewison |
| 'The Crystal Maze-like pipes and sheet metal are fashioned
into corrugated ice-sculptures, creating igloos out of industry
and a magical Lapland from the magnificent setting, with twice
the depth of an ordinary theatrical stage.' |
| The
Stage |
| 'All this is presented in a visually gripping fashion - the
goblins' faces are first seen leering through holes in an enormous
black cloth, which is then stripped away to reveal a vast stage
area behind (20m wide by 30m deep). Clusters of ominous icicles
stretch back into the far distance...' |
| The
Oxford Times, Giles Woodforde |
| 'When designer Cleo Pettitt's giant fridge is revealed in
all it's glory, it takes your breath away as surely as a sleigh
ride at 40mph.' |
| Oxford
Mail |
| '... haunting, inventive and visually powerful.' |
| Guardian
Guide (Top 5 Must See shows) |
Around
the World in Eighty Days
Liverpool Playhouse, 2003
| 'a complete delight' |
|
| Guardian
Guide (Pick of the Week) |
| 'Designer Cleo Pettitt has created a unique and ingenious
set.' |
| The
Big Issue |
| 'A runaway success... the production craftily suggests it's
various means of locomotion, including the elephant' |
| The
Times, Jeremy Kingston's Choice |
| 'Designer Cleo Pettitt's set of cogs and ratchets, surmounted
by a gigantic hot air balloon, is aided by Mervyn Millar's puppet
design... this show at the Playhouse melts into a fantastical
smash hit.' |
| The
Stage |
| 'A miniature train trundles across the stage, a mini ship
sails the imaginary waves, a fantastically ingenious elephant
shows up... and a big balloon sails over... a lovely show packed
with team spirit and skilfully brought to life.' |
| The
Mail |
| 'The backdrop of clock mechanisms constantly turning to track
Fogg's progress... becomes marvellously versatile in the hands
of designer Cleo Pettitt. Using props including a hot air balloon
and vivid costumes we are taken into the Indian jungle, seedy
backstreets of Hong Kong and across the American Wild West.
... a brilliantly imaginative and polished production.' |
| Liverpool
Echo, Joe Riley |
The Only Girl in the World
Hoxton Hall, 2002
| 'The set, a raised platform like a boxing ring, fittingly
frames the sparring couple in their bedsit and, with floorboards
stained with fish images, easily doubles as Billingsgate Market.
A well judged, resourceful, theatrical, dark tale.' |
|
| Time
Out, Mark Espiner |
Blood
Royal
Kings Head Theatre, 2002
| 'An ingenious and colourful design by Cleo Pettitt' |
|
| Theatre
Review, John Thaxter |
| 'Cleo Pettitt provided an attractive set that resembled a
patchwork of medieval painting' |
| The
Independant |
| 'Cleo Pettitt's lavishly painted backdrop' |
| Evening
Standard |
Johnson
in Love
Battersea Arts Centre, 2000
| 'That we don't become tired of Thomas's London and Johnson's
life is due to Cleo Pettitt's cleverly designed, candle-lit
setting and Tim Heath's direction.' |
|
| The
Times, Ian Johns |
| 'A strong and gifted design team' |
| Time
Out |
The
Roaring Girl
Finborough Theatre, 2000
| 'Cleo Pettitt's design scrupulously follows a 1590s drawing
of the Swan Theatre. Nobody actually sits behind the stage but
seating extends down both sides and the full house on opening
night turned the onstage doings into something of a family party.' |
|
| The
Times, Jeremy Kingston |
| 'Cleo Pettitt's design is admirable in its evocative simplicity.' |
| The
Stage, Paul Balohan |
| 'Abigail Anderson's well-dressed (Mia Flodquist), well-draped
(Cleo Pettitt) production is further evidence that the company
is one of the most vital in the capital - if not the country.' |
| What's
On, Joe McCallum |
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