OTHELLO/

MACBETH

LINBURY PRIZE 

FINALIST (2017)

BY  WILLIAM SHAKESPEARE

DIRECTORS  JUDE CHRISTIAN & 

SEAN HOLMES

CONCEPTUAL SET AND COSTUME DESIGN FOR THE LYRIC HAMMERSMITH

The starting point for my design was the transition from Othello to Macbeth in these abridged versions, which are linked by the reaction of Desdemona, Emilia and Bianca to their treatment at the hands of men. Their victimisation in Othello leads them to become the vengeful witches of Macbeth, who create a closed environment, introduce a catalyst in the form of their prophesies and observe the result.

I have used elements of classical architecture to reflect unifying themes. The offset rows of pillars suggest a myriad of options, any of which Macbeth and Othello could, but do not, take to turn away from their tragic choices.

Othello has a feeling of light, billowing spaciousness in a court of shifting relationships whilst Macbeth is driven, harsh and unrelenting. I reflect these contrasts through my use of materials, colour and texture, and of diminishing space. The concept of the witches putting the stage into lockdown gave me the key to moving between the two worlds.

'Othello' - Opening
'Othello' - Opening
Othello and Desdemona's bed
'Othello' - The bed destroyed
'Othello' - Final glimpse
'Macbeth' - Transition
'Macbeth' - Changing shutters
'Macbeth' - Changing shutters
'Macbeth' - Banquet
'Macbeth' - Final shutters
Lady Macbeth
Banquo
Witch
Witch
Desdemona
Macbeth
Witch
Othello
Desdemona
Othello and Desdemona's bed
Othello and Desdemona's bed
White card development
White card development
White card development
Exhibition stand
CAD drawing of the front arches
CAD drawing of banquet chairs

TEL: 07794228689

  • Pinterest - Black Circle
  • Instagram - Black Circle

© 2020 Jessica Staton