REVIEWS
“Played out on Adam Wiltshire’s extraordinarily detailed set, with its sunken kitchen, and accompanied by an evocative soundtrack by Nicola Chang, time seems almost suspended. It’s a tremendous production, balancing beauty and brutality, and bringing fresh poignancy to Strindberg’s masterpiece.” (MISS JULIE)
★ ★ ★ ★ ★ Nigel Smith , The Stage , March 2020
“Thanks to Adam Wiltshire’s designs, it was a short step from the bare, cage-scaffold structure of the Weill to the lavish, Topkapi-inspired prison of the Pasha’s harem in Mozart’s The Seraglio.”
★ ★ ★ ★ Fiona Maddocks, Guardian , Oct 2019
“Adam Wiltshire has designed a handsome set, authentically colourful, but also reminding us that the Pasha’s seraglio (or harem) is equally a prison. Ideal for touring purposes, it swivels around to offer interiors and exteriors. His costumes are classically elegant.”
★ ★ ★ ★ George Hall, The Stage, Oct 2019
“The world is strikingly realised in simple but strong fashion by Adam Wiltshire’s malleable staging, dominated by an arched wooden frame which is set in relief by changing charts of the constellations.” (BLUE STOCKINGS)
★ ★ ★ ★ Catherine Jones, Arts City Liverpool, March 2020
“This production was a marvel from its design aspect….From the moment you witness the space, you’re in 1896 without seeing a single person. But what’s more delightful is how a stage blocked with sturdy furniture and right angles at every corner, could flow like water in a stream…. It looked great, it moved great, it was great. The set is surprisingly adaptable despite seeming as hardy and rigid as a teacher that would work within it. The actors take full effect of its cunning design with captivating movement meaning the production never delays, keeping the story moving at a great pace.” (BLUE STOCKINGS)
★ ★ ★ ★ Mattie Jenkins, At the Theatre , March 2020
“Designer Adam Wiltshire offers an economical but effective Moorish milieu, ideal for touring: Turkish candle-lamps, elegant arches and columns, a prevailing cream and indigo architectural palette, with costumes of rich blue, magenta, crimson, emerald, serve to conjure a sumptuous luxury.”
Claire Seymour, Opera Today , Oct 2019
“Adam Wiltshire’s set, with its multi-purpose, mobile blocks of scaffolding against a palette of gloomy earth colours, creates a melancholy backdrop for this fable of humanity at the end of its economic and spiritual tether.” (DER SILBERSEE)
Boyd Tonkin, The Arts Desk, Oct 2019
The set design from Adam Wiltshire is of West End standard with big production values. The costumes are perfect for the period and add to the overall excellent quality of the production.
★ ★ ★ ★ Alan Fitter, London Theatre, July 2019
“Consistently hitting the spot are Wiltshire’s designs, which conjure the oriental splendour of ancient Armenia with genuine visual magic” (Radamisto, 2018)
★ ★ ★ ★ George Hall, The stage
“the staging looks so beautiful…Adam Wiltshire’s simple but elegant representations of walled Thrace and its surrounding wilderness. The costumes are sumptuous…” (Radamisto, 2018)
★ ★ ★ ★ Rupert Christiansen, Telegraph
“Adam Wiltshire’s designs have an austere beauty which powerfully evokes an archaic, unforgiving world” (Radamisto, 2018)
★ ★ ★ ★ Michael Church, Independent
“….a wonderfully clever and imaginative set….Adam Wiltshire's gingerbread house is a highlight” (Hansel & Gretel, 2018)
★ ★ ★ ★ ★ Aliya Al-Hassan, Broadway World
“….we’re taken into the dark and forbidding forest with blackbirds flitting hither and thither by inspired set designer Adam Wiltshire…the whole thing is a feast for the eye” (Hansel & Gretel, 2018)
★ ★ ★ ★ ★ Musical Theatre Review
“…Adam Wiltshire’s set presents a giant book in a murky woodland glade, where fairies come to play. Heaving open the enormous leather-bound cover, these sprites become narrators of the multistrand tale that bursts from the pages…Gorgeous.” (Hansel & Gretel, 2018)
★ ★ ★ ★ Sam Marlowe, The Times
“Wiltshire’s Jacobean set and costumes, artfully crumbling and askew, are a real treat” (Dido & Aeneas, 2018)
Alexandra Coghlan, The Spectator
“…powerfully staged Purcell…Interior and exterior worlds reflect each other, the tilting wood-panelled set suggesting lives gone askew.” (Dido & Aeneas, 2018)
★ ★ ★ ★ Rebecca Franks, The Times
“resplendent period designs by Adam Wiltshire” (Dido & Aeneas 2018)
★ ★ ★ ★ George Hall, The stage
….encased in a glass coffin that transforms into a banqueting table…lighting allows the body to be seen by Macbeth (and the audience) only to disappear again. It’s quite breath-taking. (Macbeth, 2017)
★ ★ ★ Neil Bonner, The stage
“Adam Wiltshire with a set design for which there aren’t enough superlatives” (Guys & Dolls)
★ ★ ★ ★ Musical Theatre Review