Ti Green

Directed by Tom Morris.
Lit by Chris Davey.
Photographs by Geraint Lewis.

***** The Times
‘The set, by Ti Green, is a fantasia of engineering. Her mountain terrifies and fascinates at the same time.’

***** The Guardian
‘Ti Green’s set features a rotating white zigzag, like a smashed papier-mache Starship Enterprise. Elsewhere, the snowscape is also suggested by the chairs, walls and even the Gents sign of a Scottish pub. Tricks of perspective make the horizontal stage feel dizzily vertical, creating such tension and jeopardy that theatregoers must remember to breathe.’

***** Daily Telegraph
‘The creative team put us in Simpson’s frozen shoes, winching us down into the nightmare... After two nail-biting hours, you feel as if you’ve been to the ends of the earth without moving from your seat, experiencing the in-extremis odyssey inch by howling inch. What more stirring testament to human fortitude and the power of theatre could there be?’

**** The Observer
‘Designer Ti Green scales the heights.’

Directed by Joe Graves

Consultant Creative Producer:
Kevin Wallace

Directed by Kimberley Sykes. Lit by Ciaran Bagnall.

**** The Telegraph ‘This dazzling Dido is the RSC’s best show of the year. It is visually ravishing… Unleashing iridescent water-falls to offset a compact expanse of grey-sand, it argues the case for the play as its own bejewelled thing. A surprisingly modern boldness …combines with emotional intensity of a remoter sort, culminating in the violent physical convulsions of a desolate Dido… A Marlovian marvel.’

**** The Guardian ‘Kimberley Sykes directs with a fluidity that perfectly balances the pictorial and the verbal. The production, in Ti Green’s design, is full of strong images: the first glimpse of a stranded Aeneas seen dangling upside down; the closing sight of Dido in suicidal despair.’

***** TheReviewsHub
**** Sunday Times

Directed by Roxana Silbert. Lit by Chahine Yavroyan.

**** The Telegraph
'the most provocative theatrical act of the decade'

The Observer
'Powell’s idea of England – “not so much a place as a grief” – is vividly evoked in Roxana Silbert's production: in the sound of vanishing lapwings, in lines of AE Housman, and in Ti Green’s dapple-shaded woodland set. All this wistfulness – alongside all that harshness... A fascinating hinterland is opened'.

Directed by Walter Meierjohann. Lit by Mike Gunning. AV design by Louis Price.
 

**** The Guardian    **** The Observer    **** The Independent   
**** What’s On Stage    **** The Stage    **** Evening Standard    **** Financial Times

*** The Telegraph ‘you’ll be by turns captivated, amused and impressed by what Kathryn Hunter does here, on Ti Green’s spare, beautiful set … The neat trick of the piece is to create a constant sense of the mercurial and the magical.’
**** The Reviews Hub ‘Creative, stylish and incredibly powerful, this gripping production of The Emperor is a tour de force of theatrical story-telling.’

Co-production between the Birmingham Rep, West Yorkshire Playhouse, Theatre Royal Stratford East, Liverpool Everyman, Sheffield Crucible, Wolsey Theatre and Nottingham Playhouse. 2016.

Directed by Roxana Silbert.
Lit by Chahine Yovroyan .
AV design by Timothy Bird.

Nominated for a Special Achievement Award at the 2017 Oliviers

The Guardian ****
'Roxana Silbert’s frenetic, off-the-wall production of Gogol’s satire ... embraces an aesthetic whereby interpretation for the deaf or partially sighted is not an adjunct to the action but a positive enhancement of it. It’s a point not often made that British Sign Language can be hilarious, whether you understand it or not. And Ti Green’s set, which contains the farce within the lobby of a pompous, pre-Soviet hotel, solves the access issue with a working lift, complete with muzak and soothing floor announcements.'

Directed by Walter Meierjohann. Lit by Mike Gunning. AV design by Louis Price. Photographs by Graeme Cooper.

The Times *****    The Observer ****    The Good Review ****    Mail on Sunday ****    Whats On Stage ****    The Arts Shelf ****   

The Observer ****
‘its gaudy despair – as spoken by Simon Stephens, visualised by designer Ti Green and directed by Walter Meierjohann – is true, disturbing and wide-reaching’

The Times *****
'Ti Green’s design evokes a twinkling, grubby wonderland of garish promise and murky menace. Rubbish is strewn among the carousel ponies and winking lights. Punters with grotesquely painted faces clutch bright balloons; a band snarls out dark rock songs by Nick Cave and Iggy Pop.
Meierjohann’s staging is rich in brutal visual poetry… This is not just an arresting production, it’s a powerful statement of intent that launches this venue in passionate, swaggering and provocative style.'

The Guardian ***
'You can almost smell the candyfloss and chip fat in Ti Green’s atmospheric design… visually lush and distinctive… Sinister guitar-playing clowns leer out of the darkness; there’s a freak-show chorus with outsize puppet heads; crumbling grey concrete peeps out from the glitz. Deformity and beauty sit cheek by jowl.'

Manchester Evening News
'On HOME’s gigantic stage, designer Ti Green has conjured up the kind of demonic circus you’d expect to find down the back of a radiator in David Lynch’s Eraserhead or buried in the Twin Peaks woods. A round red velvet curtain hovers centre stage, windows are lit up like dressing room mirrors, the live band in clownish face paint is mounted on the wall tying scenes together with creepy splashes of music, and an organza screen draws across the front of the stage turning it into a dizzying zoetrope of garish activity.'

Directed by Richard Beecham. Lit by Richard Howell.

The Telegraph ****    The Times ****    The Mail ****    Mail on Sunday *****    Libby Purves *****

'Richard Beecham’s direction is supported by extraordinary design by Ti Green, creating a darkness visible, a grey despair around the vivid individuals...It is one of those rare memorable nights when you come to believe you are not watching acting at all, but remembered experience: a necessary ritual.'
Libby Purves, theatreCat.com

'Beecham’s production, staged on Ti Green’s stark oblong pit bisected by two gleaming railway lines, avoids documentary realism. Instead it addresses the barely imaginable horrors of the Holocaust, viewed through the memories of Siân Phillips as Fania, with grotesque absurdity and the warped vividness of nightmare.'
The Times

Directed by Walter Meierjohann. Lit by Mike Gunning. Photographs by Graeme Cooper.

Winner of Best Design at the Manchester Theatre Awards.

The Public Reviews ****
'Visually the show is stunning. Audiences flow seamlessly between spaces, from being driven out of an empty pool by the Capulets, to filling up the balcony to oversee Juliet's vast flooded tomb... The Ladies' pool treats the audience to a box of magic tricks, from Juliet celebrating her marriage on a suspended swing, to the hydraulic bridge that doubles as a mirror, sending light cascading across the weary tiles... A gorgeous visual production of a classic that will stay with the audience long after the pools are empited.'

The Independent****
'This production concludes with one of the most breathtaking scenes you are ever likely to see in a theatre... The audience move into the sumptuous third pool for a coup de theatre in the Capulets' vault. The space is softly lit. A smell of incense hangs in the air. Looking down from the balcony the huge pool has been filled with gentle blue water spanned, from end-to-end and side-to-side, with a gigantic gold Orthodox cruciform. At its patterned centre lies the body of Juliet in bridal white.'

The Observer ***
'Ti Green's designs are sumptuous'

Manchester Evening News ****
'an important and accomplished spectacle, drenched in atmosphere and very beautiful. Entering the final room to gaze into Juliet's flooded mausoleum is a catch-your-breath moment, and is how the production will be remembered.'

What's On Stage *****
'A breathtakingly beautiful piece of theatre'

directed by Serdar Bilis. lit by Chahine Yavroyan.

The Guardian ****
'Serdar Bilis' production provides a cascade of images, beautifully designed by Ti Green, to suggest a fault line running between the city's derelict past and its shiny, regenerated future'.

Liverpool Echo
’crazily beautiful’

What’sOnStage ****
’a fantastical rollercoaster ride’

Directed by Marilyn Imrie. Lit by Mark Doubleday. AV design by Lewis den Hertog.

The Guardian ****
'she is hemmed in by the silver birches of Ti Green's set, looming like a sinister extension of her troubled mental state

The Scotsman ****
'Ti Green's gorgeous garden set of looming woodlands and clashing realities, superbly lit by Mark Doubleday'.

Directed by Max Webster.
Lit by Charles Balfour.
Photographs by Jonathan Keenan.

The Guardian ****
'Ti Green's carnivalesque design dances through the space'

Manchester Evening News ****
'visually ravishing'

The Observer ****
'This fleet production captures both the lushness and the peculiarity of the novel. Gloriana is a burly bloke in a transparent orange farthingale, lit from within with tiny lights. Ti Green's design pulls sumptuousness out of spareness. London is an illuminated dollshouse and a skeleton puppet. The great frost is summoned up in a white sheet. Constantinople, where Orlando goes to bed as a coltish boy and wakes up as a voluptous woman, is a curtained bed. The entrancing Russian princess spins on a cable high over the heads of the audience. As if whisked up on the wings of love.'

The Telegraph ****
'Hurtling us from the age of feather quills to the coming of electricity, beautifully suggested in Ti Green's design by a tumbled mass of light bulbs.'

The Times ****

Directed by Tessa Walker.
Lit by Mark Doubleday.

'Operatic in scale... Ti Green's set gives it a witty and eccentric flavour that truly captures the mystery and strangeness of Dickens' tale... The chorus are positioned everywhere, even seated at great height on impossibly suspended wooden chairs. Images burn on the mind, like the illuminated ballgowns that silently descend to create a stunning backdrop for the Fezziwig party, and the searing spectre that is Christmas Future.' The Stage

The Times ****
'The real star of the show is Ti Green, the designer. Her set, which wouldn't shame a grand opera house, is eerie and stunning: a murky chasm overlooked by a towering, sooty tenement building. A chorus of Victorian ghosts hover halfway up the walls, lolling on chairs that appear to be levitating. The period costumes are exquisite too, with gorgeous colour and playfulness seeping in, defying the gloom.'

Shakespeare's Globe, York Theatre Royal, national tour, and outdoor battlefield performances. Live TV broadcast by the BBC. 2013.

Directed by Nick Bagnall.
Production photographs by Gary Calton.

**** The Guardian
**** The Telegraph

Directed by Jemima Levick.
Lit by Mark Doubleday.

Shortlisted for Best Design at the Critics' Awards for Theatre in Scotland 2013 .

The Guardian ****
'Ti Green's design emphasises the time element. Furniture disappears into timeless gauze walls which, when backlit, reveal glimpses of futures and pasts, co-existing simultaneously.'

The Scotsman ****
'In Jemima Levicks's bravely sombre production, it emerges as a truly fascinating play, a dark and searching piece of mid-20th-century nihilism clothed in the style of a middle-class drawing room drama...Ti Green's design - greyish walls and furniture fading into a dark mist of memory, the characters picked out against it in acid-coloured costumes - flatly refuses to conform to our pretty Downton fantasies of what period drama should look like. And as the story begins to grip... we gradually realise that something very different is moving beneath the surface of Priestley's play... a deep meditation on how we think of time itself, as it gradually weakens, devours and destroys us.'

Directed by Walter Meierjohann.
Choreography by Kenrick Sandy.
AV Design by Louis Price.
Lit by Mike Gunning

***** The Independent
***** The Huffington Post
'Unleashed is met with a standing ovation from all in the Barbican Theatre - how often does that happen? Five star reviews don't come around very often. Neither do huge young casts that combine balanced social commentary and high standards of performance - an eclectic vision as bold and clear as Danny Boyle's Olympic Games opening ceremony.'

A new play by Rona Monro.
Directed by Roxana Silbert.
Lit by Chahine Yavroyan.

**** The Guardian

**** The Times. 'The square, bare and brutal set is relieved by a sweeping tongue of steel: sometimes amid bright stars we see flying, somersaulting, weightless young men. Pity, wonder, terror: terrific.'