Press, Dinah England

What the press say...

“as for Dinah England’s set and Jane Kidd’s costumes, they are best described as exquisite.”

The Heiress - The Stage - 7 March 2008

“(the) setting of Warley Little Theatre... heightens this coldhearted drama.”

Room at the Top - The Stage - 4 May 2006

“Dinah England’s set cleverly mirrors the snow-globe that Brenda-Marie gives her mother and when, at the end, huge flakes float down into Josie’s lounge... the audience let out a collective sigh of satisfaction.”

Martha, Josie and the Chinese Elvis - The Stage - 8 March 2006

“Dinah England's set says it all. A steel bench perches outside an imposing wire fence; this is obviously meant to represent a playground, but the gunmetal colouring and heavy bolts bring a prison yard to mind.”

Year 10 - The Evening Standard - 8 July 2005

“The design - 1930s Italy at the height of Mussolini’s regime - makes for a production that is very easy on the eye.”

Romeo and Juliet - The Guardian - 17 March 2004

“Dinah England’s folding set is highly ingenious.”

The Lost World - Essex Chronicle - 20 February 2003

“England’s witty, framed pen and ink drawing, cartoon-style backdrops are starkly reminiscent of Andy Capp until we reach the exuberantly Impressionistic Paris”

April in Paris - Mary Redman - 5 September 2002

“This production... is helped by Dinah England’s sophisticated design for the elegant country house... The women wear delicious period frocks and it is all a feast for the eyes.”

Blithe Spirit - Mary Redman - 13 June 2002

“Dinah England’s design is a garish triumph of bad suburban taste...”

One for the Road - Evening Standard - Thursday 6 March 2002

“Dinah England’s filigree set uses Williams’ trademark transparent gauzes with an added reflective layer highlighting the lack of transparency of the family”

The Glass Menagerie - The Stage - 18 October 2001

“Dinah England has done wonders with the staging, conjuring all manner of effects out of seemingly thin air...”

Hard Times - Theatre World Page- February 1998