“The women are Clean Break Members Lucy Edkins, Jennifer Joseph, TerriAnn Oudjar and Jade Small – also identified by their nicknames the Artist, Muvva, Pitbull and Queenie, as emblazoned across the back of their ironically designed baby-blue boiler suits (excellent work by designer Camilla Clarke).” JN Benjamin

***** The Stage

**** Time Out


Entering a room resembling a forgotten community library, from exposed wires hanging beyond a missing ceiling panel in that all too familiar shade of cement, to bare shelves lined with odd books and old board games, I am faced with a labyrinth-like perpendicular row of benches stretching across the entirety of the space. As clocks punctuate the time, fluorescent lights intermittently flicker above. A sense of emptiness waiting to be filled with action. Camilla Clarke’s immaculately detailed design supports Skeete and Alexis without overwhelming the text or their presence. The setting of a library is contextually relevant, as well as finding ingenious ways for them to demonstrate complexities in elegant simplicity with no room for misunderstanding.” Dovydas Laurinaitis

“The direction and design (fine work, Camilla Clarke) are constantly, delightfully surprising. The actors weave sinuously among us, pausing at intriguing corners. The soundscape becomes ever more crackly and discordant and Kincaid spits her rage over Antigua’s lack of a proper library. I’m glad I don’t have to tell her that I enjoyed my holiday there.” Fiona Mountford

“Camilla Clarke’s set design does not feature a traditional stage. Instead there are sparsely filled bookshelves and ancient looking TV sets dotted about the place. Maybe it’s a community centre, or a library, or a tourist information centre. Maybe it’s a combination of all three.” JN Benjamin

**** Evening Standard

**** The Guardian

**** The Stage


“Camilla Clarke’s design wittily suggests an environment of rugged natural beauty and dilapidated despondency. The set, a tatty school hall with ruptured flooring encircled by plastic chairs, has a tank full of bright fish set into a wall, beneath which Claire at one point guts a bucket of bloody trout.”

“Designer Camilla Clarke has covered the Orange Tree floor with authentically weathered parquet – it looks distressingly like a school gymnasium – and replaced the front row of seats with blue plastic chairs. It’s a set with a secret.”

***** Broadway World

**** The Stage

**** The Guardian

**** Time Out

**** The Times


"Performed this time by actual children, who have one by one stepped into the adult actors’ places, it bursts with colour, adventure, noise, vigour, the stage sprouting glittering stalagmites and stalactites (designers Chloe Lamford and Camilla Clarke have an absolute field day), giant insects amid towering flowers, this gorgeous place where the bullies stop bullying, the sick get better, the bees are saved, and everybody listens. That’s the key thing. Everybody listens." Maddy Costa

"Their end-of-week show takes on an expansive theatricality as Chloe Lamford and Camilla Clarke's design comes into bloom: as big and beautiful as any Royal Ballet stage. Instead of fumbled silliness and make-do outfits, we see a full-bodied drama: a tale of absent adults and child heroes pitted against death." Matt Trueman

***** Sunday Times

***** Time Out

**** WhatsOnStage

**** The Guardian


**** Bachtrack

**** The Guardian

**** The Telegraph

**** WhatsOnStage



"the catastrophe that has reduced their immediate environment to a blackened bomb crater, starkly realised in camilla clarke’s darkly atmospheric set"

**** The Guardian

**** The Stage


A thing of beauty.

"The open stage, built inside the Lyceum's rehearsal studio, provides a study-like set under Camilla Clarke visual design, helping create an intense, intimate feeling of the whole. Flying birds, of skylarks and geese, are projected through an all-covering scrim painted with the delicate, annotated line drawings of an ancient herbal."

***** The Stage

"Wind Resistance is first and foremost a masterful piece of storytelling. This is a poignant, unflinching and beautiful show about healing, protection, the fragility of human life and the world around us."

***** The Telegraph

***** The List

***** The Edinburgh Reporter

**** The Guardian

**** WhatsOnStage


"Hamish Pirie’s Theatre Upstairs production and Camilla Clarke’s design, however, create a terrifying world in which blood cascades down double-glazed windows as the crisis escalates. A powerful alarmist piece of theatre." 

**** The Guardian

Camilla Clarke’s evocative set keeps things resolutely surreal, a Perspex wall splashed by blood, strafed by strobes, behind which nightmarish things are hinted at in the flickering light." 

**** Time Out

"There’s a murky figure in a hazard suit on the other side of the windows; footage of scuttling insects; a sudden fall of ash; creeping creatures in green-lit perspex boxes. Camilla Clarke’s brightly coloured composite set has a strange smack of hamster cage."

 **** The Independent

"Superbly written, wildly imaginative and thought-provoking play" 

****The Art's Desk


As a director, Mathide Lopez’s hallmark is cleverly organised chaos; here she gleefully embraces the artificiality of the situation: showers and rainfall are rendered via torn-up silver paper. As the piece begins, the audience is welcomed into a lavish apartment—beautifully designed by Camilla Clarke.

***** British Theatre Guide

"A performance of rare intimacy that compels us to recognise our conscious prejudices. Yuri is undeniably an absolute pleasure to watch. An original, unforgettable experience."

***** Broadway Baby

***** Buzzmag

“Yuri” is funny. It's funny at the start, at the middle and at the end. Melquiot gives his plot a twist of a finale that is a little outrageous. All in all it is a treat. A space of zigzag carpeting and bright yellow chairs and toaster. Camilla Clarke, hailed this Spring for her work with Volcano, is designer of this madcap space.

**** Theatre Wales

**** The Scotsman


The actors climb beams and walls, swing on ropes suspended from the ceiling, engage in wrestling matches and move around the space in a kinetic blur that makes one breathless just watching them, with a dazzling coup de théâtre that occurs midway through the action and opens the space up into completely new territory. The set design by Camilla Clarke is a visual treat from start to finish.

**** Buzzmag

It is that attention in the source material for Volcano’s wild and thrilling version that designer Camilla Clarke has focused on. The theatrical impact of her concept is achieved in two ways. Not only is the design audacious and excitingly original but director Paul Davies has arranged the action in such a way that its full realisation only becomes clear to the audience in a stunning visual coup.

**** Art Scene in Wales

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