The Blue Road

The Blue Road paint  The Blue Road

Set and costume designer, scenic artist

Theatre Royal Young Company
Drum Theatre
Director Nik Partridge
Lighting Designer John Purkis

Photos below by Dom Moore



Our Man in Havana

Creative Cow – director Amanda Knott
Adapted by Clive Francis.
Set and Costume design
Scenic Artist

A fun and challenging project designing and painting the set, and designing and sourcing costumes. ‘Our Man in Havana’ opened at Buxton Opera House in April 2017
Tour dates and more info at:

‘Cuba 1958. Meet Jim Wormold – a hapless vacuum cleaner salesman who gets sucked in to a dirty world of espionage and double agents when the chance of helping out MI6 with a job or two proves too good an offer to resist. And, quite frankly, he could do with the cash to pay for his teenage daughter’s ever increasing lifestyle.

Thrillingly adapted for the stage by Clive Francis, this uproarious farce is filleted to perfection from Graham Greene’s hilarious, subversive and ever popular novel.’

“Nina Raines’s simple yet evocative design is an effective backdrop” – David Upton, British Theatre Guide
“This fluid, mobile approach to the story is well supported by stage design from Nina Raines and lighting design from Derek Anderson.  Both are highly effective at adapting to the rapid changes of scene, capturing numerous locations with clever changes to the stage space.  Their design is simple, evoking the warmth, sun and humid streets of Old Havana through a few key elements and an attention to texture and space.” – Becca Savory Fuller, Reviewshub
“Nina Raines also deserves some praise for her setting with three arches at the rear with palm trees and then a desk and chairs that can be moved, rotated, added or taken away to represent everything else.” – Roger Clarke, Behind the Arras
“…The attention to detail is impeccable with a plethora of props and some excellent drawings of (what may possibly be but there is no proof) weapons of mass destruction. Or the inner workings of a vacuum cleaner. Who knows?” – Michaela Clement- Hayes, West End Wilma
Photos below by David John King



The Jungle Book

‘The Jungle Book’ – Le Navet Bete
Barbican Theatre, December 2016
Set and Costume design.

Having worked with Le Navet Bete as an assistant on ‘The Wizard of Oz’ and ‘Robin Hood’, I was asked back to design the set and costume for their 2016 Christmas show, where I also enjoyed painting the set.

In this ‘live animal’ version of Rudyard Kipling’s story, when the animals all escape from the theatre the voicover artistes are left with no choice but to perform the story themselves, resulting in improvised costumes and hilarity. A challenging and fun show to work on, described as ‘ingenious’ by The Stage.



Costume drawings


Outpost 2016

Ocean Studios, Royal William Yard, October 2016
New Model Theatre
Three weeks of pop-up theatre in Plymouth.
Set and costume design.

‘A Doll’s House’ by Henrik Ibsen

Henrik Ibsen’s classic ‘A Doll’s House’ directed by Tom Nicholas, performed by Tessa Mason, Ben Kernow, Lisa Wordsworth and Connor Reed.

It’s Christmas Eve and Nora Helmer’s carefully kept secret is at risk of unravelling. As she puts the finishing touches to the Christmas tree, a shady figure from her past returns and threatens to tear her world apart.

Photographs by Guy Harris

‘Product’ by Mark Ravenhill

A young business woman falls in love with a suicide bomber. Or that’s the plot of the film that James has found himself pitching. He loves this story. He believes in this story. All he needs now is a leading lady, someone with star quality to get the green light.

Mark Ravenhill’s darkly comic play takes a bold swipe at Hollywood and humanity’s desperate need for narrative.

Photographs by Gemma Smith

‘Foundations’ by Tom Nicholas

Foundations by Tom Nicholas.

Amelia and Justin are both doctors. Junior doctors. Amelia’s looking to change the world, Justin for job security and an increased earning potential. Yet, when a new contract threatens both these things, they must question where their motivation really lies.

This new play by Tom Nicholas takes as a backdrop the most divisive industrial dispute in decades to ask pressing questions about class, politics and ambition.
Photos by Gemma Smith



Model box projects at Rose Bruford College – unrealised but valuable development of skills.


The Hostage

‘The Hostage’ by Brendan Behan
Rose Theatre, Rose Bruford College, November 2015
Directed by Jeremy Harrison, performed by BA Acting and Actor Musicianship students
Set and costume design.

Costume drawings
Character portraits by Michael O’Reilly

The Hostage

Photo by Robert Workman



‘Sylum’ The Asylum, Peckham, June 2016
Devised by MA Ensemble Theatre students at Rose Bruford College
Set and Costume design. Scenic Artist.




Pool (no water)

By Mark Ravenhill
Rose Bruford College 2015 Co-design with Geneva Brown
Set and Costume design


” A famous artist invites her old friends to her luxurious new home. For one night only, the group is back together. But celebrations come to an abrupt end when the host suffers an horrific accident.

As the victim lies in a coma, an almost unthinkable plan starts to take shape: could her suffering be their next work of art?

The group is ecstatic in its new found project until things slip out of their control. To the surprise of all, the patient awakes… If you’d been in that hospital with us then maybe, maybe you’d have felt the same. “



In 2013-14 I worked with New Model Theatre to design and produce a set for ‘STATIC’ which then toured several UK venues.

Written and directed by Tom Nicholas, Static combines brilliant storytelling with verbatim news reports to tell a coming of age story that spans a decade. From watching the World Trade Centre fall live on TV to the top of Tory HQ, through drunken teenage parties and walking home with bloody noses.

This is the story of how a generation grew up with the world at their fingertips, how they learnt to switch off their screens, and got up on their feet.

Miriam Gillinson, arts journalist:
” This is a thoughtfully constructed show and the design, in particular, creates a really useful loop back to the play’s central themes. The use of those two hanging frames – on which news feeds, memories and re-enacted scenarios are frequently projected – is highly effective. Top marks to videographer Jon Broks and designer Nina Raines who have come up with this probing concept. The hanging frames recall an art gallery and remind us that TV is today’s premiere medium for creative expression. It is where today’s young adults hope to see their lives and concerns reflected. It is where they look for inspiration and self-affirmation. “