by Simon Stephens and Daniel Raggett, after Arthur Schnitzler

Dailes Teatris, Latvia - January 2026

Director - Daniel Raggett

Lighting Designer - Oscars Pauliņš

Video Designer - Jakub Lech

Composer - David Burmeister

Visual Artist - Olivier de Sagazan

Choreographer - Elina Gedina

Assistant Director - Diana Kayak

Costume Supervisor - Beāte Rudzroga

Production Manger - Martiņš Vigups

Stage Manger - Marcis Gipters

Set and Costume Production - Dailes Teatris

Photography - Marko Rass

by William Shakespeare

The Other Place, The Royal Shakespeare Company - October 2025

Director - Daniel Raggett

Lighting Designer - Ryan Day

Composer - Tommy Reilly

Sound Designer - Tingying Dong

Fight Director - Alex Payne

Assistant Director - Max Harrison

Production Manager - Lucy Guyver

Stage Manager - Lavinia Serban

Costume Supervisor - Natasha Ward

Photography - Helen Murray

Castle Dunsinane is a late-20th century gangland Glasgow public house with patterned carpet and handsomely spinning fan rotors in its false ceiling. A good night for the designer Anna Reid.

THE TIMES

In high concept stuff like this, detail is crucial and Anna Reid’s set is perfect

Gary Naylor, THE ARTS DESK

Special praise must go to set and costume designer Anna Reid, who completely transformed The Other Place into a grimy, dingy 1970s-style Glasgow pub. Every detail, from the stained ceiling to the worn pub carpet (you felt like you could stick to it), added to the authenticity, making the intimate space feel like a fully immersive experience – you could almost smell the tobacco smoke.

David Fox, BrumHour

Theater am Kornmarkt, Bregenz Festival - August 2025

Conductor - Kaapo Ijas

Director - Amy Lane

Lighting Designer - Charlie Morgan Jones

Costume Supervisor - Lena Sieder-Semlitsch

Assistant Designer - Thorben Schumüller

Set and Costume Production - Festspielhaus Bregenz

Photography - Anja Koehler

Anna Reid's stage design, which is somewhere between geometry and the feel of a fairground, develops a story full of wit and pace.

Anna Mika, KRONEN ZEITUNG

The all-British leading team, including set and costume designer Anna Reid and lighting designer Charlie Morgan Jones, has created a magic box from which ever new surprises bubble up...There are many truly funny moments this evening... once again it becomes clear that British humour and Italian opera buffa go together wonderfully.

Michael Löbl, KULTURZEITSCHRIFT

With her set designer Anna Reid, British director Amy Lane relocates the story to a kind of amusement park on the small stage. Given its coherent execution and precise focus on the music, this is a real hit.

Christa Dietrich, SALZBURGER NACHRICHTEN

by Iman Qureshi

Kiln Theatre - June 2025

Olivier-nominated for Best New Production in Affiliate Theatre

Director - Hannah Hauer-King

Lighting Designer - Zoe Spurr

Composer, Sound Designer and Co-Music Director - Nicola T. Chang

Co-Music Director and Vocal Coach - Victoria Calver

Assistant Director - Yael Elishiva

Production Manager - Alysha Laviniere for Kiln Theatre

Stage Manager - Katie Bachtler and Cheryl Firth

Costume Supervisor - Danielle Levy

Set Construction - Ridiculous Solutions

Photography - Mark Douet

Anna Reid' design is impeccable in bringing the world of the choir to life and adapts beautifully to each situation portrayed

THEATRE AND TONIC

Designer Anna Reid has immense fun with the costume palette that takes a comprehensive trawl through every lesbian fashion stereotype: anticipate ill-fitting jeans, beanie hats, baggy jumpers, and sale items from The North Face. Reid’s set neatly conveys a leafy rural church hall from a generation ago, complete with an upright piano, rafters, and a leaky roof —a familiar, conservative environment cleverly subverted into a radical safe space for diverse urban queers. 

John Cutler, THE REVIEWS HUB

Anna Reid's set design beautifully recreates the run-down church hall with a great use of space

Daz Gale, ALL THAT DAZZLES

National Tour, Opera North - April 2025

Winner of the Sky Arts Award for Opera

Conductor - Antony Hermus

Director - PJ Harris

Lighting Designer - Richard Moore

Costume Supervisor - Stephen Rodwell

Assistant Director - Oscar Simms

Production Manager - Ray Hain

Stage Manager - Kate Freston-Davy

Set Construction - Harrogate

Scenic Art - Rory Davis

Photography - James Glossop

Opera North’s production of Simon Boccanegra at the Royal Festival Hall this weekend was indeed a masterclass in how to present a concert-staged opera. From the haunting opening with a marble crypt on stage to the tragic finale, this performance was a magical blend of musical excellence and eloquent storytelling…the minimal set, beautifully designed by Anna Reid, was replete with imagery and imagination.

Dr Diana Caroll, ARTS HUB

Petrarch’s line, “I’vo gridando: Pace, pace, pace” was emblazoned over the top of the Opera North staging. In his cry for peace the poet attested to the human need to lay aside hatred, resentment and desires for vengeance, a cry that has resonated throughout the ages and still resonates today. It was perhaps the most powerful of all statements in this magnificent Opera North production.

Alexander Hall, OPERA TODAY

This production exemplifies artistic excellence and bold innovation in opera.

SKY ARTS AWARDS

Silk Street Theatre, Guildhall School of Music and Drama - February 2022

Composer - Jonathan Dove

Libretto - Alasdair Middleton

Conductor - Dominic Wheeler

Director - Martin Lloyd Evans

Lighting Designer - Zoé Ritchie

Production Manager - Oscar Keeyes

Stage Manager - Ida Pontoppidan

Costume Supervisor - Katie Higgins for Guildhall

Photography - David Monteith-Hodge

by Richard Bean

Hampstead Theatre - October 2024

Director - Emily Burns

Lighting Designer - Oliver Fenwick

Composer - Grant Olding

Sound Designer - Christopher Shutt

Production Manager - Skip Francis

Stage Manager - David Purdie-Smith

Costume Supervisor - Evelien Van Camp

Scenic Painter - Charlotte Bownass

Set Construction - Centreline Fabrications

Photography - Mark Douet

The set, by Anna Reid, is an exquisite world of Seventies browns and smudged windows.

Dominic Maxwell, THE TIMES

Anna Reid’s set design is fantastic in its versatility with the attention to detail in Claxton’s office completely one-upped by the sensational transformation into the hotel in Reykjavik in act two in a brilliantly realised and incredibly detailed feat of set design.

Daz Gale, ALL THAT DAZZLES

a hilariously hideous ‘70s hotel bar in the Icelandic capital, amazing work from designer Anna Reid

Andrzej Lukowski, TIME OUT

by Oli Forsyth

Royal Court Upstairs - October 2024

Director - Dan Raggett

Lighting Designer - Simeon Miller

Composer and Sound Designer - Paul Arditti

Video Designer - Matt Powell

Fight Director - Alex Payne

Production Manager - Marius Ronning

Stage Manager - Lavinia Serban

Costume Supervisor - Katie Price

Photography - Helen Murray

Anna Reid’s starkly abstract and effective set sees us sat on either side of a plane aisle-like slope that bisects the narrow strip of stage at a slant…Together with Simeon Miller’s high-impact lighting and the roar of Paul Arditti’s nerve-jangling sound design, it’s a powerfully visceral experience.

Tom Wicker, TIME OUT

The sense of danger in Brace Brace is immediate, the intimate Jerwood Upstairs transformed by a gaping hole in the floor, a sharp-edged walkway emerging steeply from it, and flickering seatback screens embedded in the walls...the slim space between them, the audience, and the void in the floor gives a treacherous undercurrent to every step they take. Indeed, the technical mastery of the space is what gives Brace Brace such a cutting atmosphere of unease... when the scene or terror arrives, it is beyond anticipation–nothing short of a feat of theatrical design.

Charlotte de Paeztron, THEATRE AND TONIC

The staging is vividly abstract, with a sinister pit and a runway strip that acts also as the interior of the plane and a metaphor for PTSD taking off.

Aleks Sierz, THE ARTS DESK

Linbury Studio, Royal Opera House - April 2024

Larmes de Couteau

Composer - Bohuslav Martinů

Director - Eleanor Burke

Full Moon in March

Composer - John Harbison

Libretto - WB Yeats

Director - Harriet Taylor

Double Bill Company

Conductor - Edward Reeves

Lighting Designer - Bethany Gupwell

Choreographer and Movement Director - Sarita Piotrowski

Fight Director - Rich Gittens

Production Manager - Simon Evans and Andreas Ayling

Stage Manager - Maikel Bellanco

Costume Supervisor - Sebastian Freeburn

Hair and Makeup Supervisor - Sally Costello

Photography - Camilla Greenwell

...such is the light touch, mischievous energy and sheer visual inventiveness that the directors bring to their respective stagings, much aided by Anna Reid’s garish Barbie-world designs, that the atmosphere is one of absurdist mania rather than heavy moralising.

Richard Morrison, THE TIMES

In Anna Reid's colourfully inventive designs, both stagings look a treat.

George Hall, THE STAGE

Never underestimate the skill needed to frame the irregular, to make elegant that which is incomprehensible while keeping anarchy intact. The Linbury theatre’s double bill of two Dada-esque chamber operas has done just that, aided by a visual armoury of hanged man, guillotine, bridal bouquets, a legion of teddy bears and a lot of pink. All praise to directors Eleanor Burke and Harriet Taylor, and designer Anna Reid and their team.

Fiona Maddocks, THE GUARDIAN

by Tom Stoppard

Hampstead Theatre - December 2023

Director - Nina Raine

Lighting Designer - Peter Mumford

Composer and Sound Designer - Tingying Dong

Assistant Director - Joanna Woznicka

Production Manager - Tom Nickson

Stage Manager - Jerry Gunn

Costume Supervisor - Evelien Van Camp

Scenic Painter - Bret Naylor

Set Construction - Visualscene

Photography - Manuel Harlan

by Olivia Hirst and David Byrne

English Theatre Frankfurt - September 2023

Director - David Byrne

Lighting Designer - Charlie Morgan Jones

Sound Designer - Yaiza Varona

Projection and Video Designer - Zakk Hein

Associate Director - Sy Supersad

Stage Manager - Leanne Maksin

Costume Supervisor - Mirta Kljajo

Set Construction - English Theatre Frankfurt

Photography - Birgit Hupfeld

Crescent Theatre - April 2023

Composer - Alessandro Stradella

Libretto - Nicolò Minato

Conductor - Andrew Kirkman

Director - Christopher Cowell

Lighting Designer - Matt Cater

Production Manager - Ian Taylor for eStage

Stage Manager - Katie Thackeray

Costume Supervisor - Sades Robinson

Set Construction - Nick Aldrich for Centreline Fabrications

Photography - Greg Milner

Anna Reid's costume designs satirize the fashion fads of today, casting the chic elegance of Stratonica into effective relief; Reid's set is simple and versatile, suggesting an art-gallery setting in and out of which the action unfolds. 

Christopher Morley, MIDLANDS MUSIC REVIEW

by Dario Fo and Franca Rame, adapted by Tom Basden

The Lyric Hammersmith / Theatre Royal Haymarket - Spring 2023

Olivier Nominated for Best New Entertainment or Comedy Play

Director - Daniel Raggett

Lighting Designer - Jai Morjaria

Composer and Sound Designer - Annie May Fletcher

Additional Music Arrangements and Supervision - Nick Barstow

Production Manager - Seamus Benson for the Lyric and Juli Friare for Theatre Royal Haymarket

Original Production Manger for Sheffield Crucible - Ian Taylor for eStage

Company Stage Manager - Claire O’Brien for The Lyric and Paul Ferris for Theatre Royal Haymarket

Costume Supervisor - Harry Whitham for The Lyric and Binnie Bowerman for Theatre Royal Haymarket

Photography - Helen Murray

Anna Reid’s set design is a playground of opportunity. It is a delight to see the cohesion between Raggett’s exploration of space and Reid’s mundane office layout. There are some brilliant comedic games played maneuvering audience expectations and transcending the extraordinary. 

Sebastian Calver, LONDON THEATRE REVIEWS

We are shown throughout, in a delicious set of sight gags, that Anna Reid’s bright, clever set is definitely, categorically fake. Fine, but why does everyone still behave as if it is on the fourth floor of Police headquarters and a fall from the window would be fatal? The whole thing acts as an explicit warning that we should not trust narratives, especially those we’re told by the powerful.

Mike Carter, EVERYTHING THEATRE

Designer Anna Reid has created a wonderfully drab, grotty Met office, tilted downwards so that it looks like the mildewy box files and vinyl chairs might come barrelling towards us.

Tim Bano, THE EVENING STANDARD

by Ryan Calais Cameron

Apollo Theatre - April 2023

Olivier Nominated for Best New Play and Best Supporting Actor for the ensemble of Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand, Aruna Jalloh and Kaine Lawrence

Director - Ryan Calais Cameron

Original Director - Tristan Fynn-Aiduenu

Lighting Designer - Rory Beaton

Composer and Sound Designer - Nicola Chang

Choreographer and Movement Director - Theophilus O. Bailey-Godson

Musical Director and Vocal Coach - John Pfumojena

Assistant Director - TD Moyo

Associate Sound Designer - Jahmiko Marshall

Production Manager - Simon Evans

Stage Manager - Marie-Angelique St. Hill

Costume Supervisor - Lucy Walshaw

Photography - Ali Wright

Anna Reid’s set design of a multicoloured backdrop behind seven yellow chairs is elevated, literally and metaphorically, so that when each boy stands to give his testimony, you see him, all of him, as he deserves to be seen.

JN Benjamin, THE STAGE

Shared with the ensemble nature of the show is the praise for the cast and crew. Every performance is perfectly sculpted, from Nnabiko Ejiofor’s use of his body, sculpted by the movement direction of Theophilus O Bailey, to the brutalist but joyful playground set design by Anna Reid. The care and love for this piece seeps into every corner of the production.

Alexander Pearn, A YOUNGISH PERSPECTIVE

Anna Reid’s set, lit in glowing colours of sunsets and rainbows by Rory Beaton, is both a space of inner contemplation and, in the second act, when it expands to incorporate railings and a raised walkway, a setting with a flavour of urban dreaming.

Sam Marlowe, iNEWS

The staging is simple but stunning... They have handles that connote blackness (Jet, Obsidian, Pitch, Midnight, Sable, Onyx) but are in an empty, vibrantly coloured space where they can act out their psychodramas and stories, some sweet and funny, others brutal or tearfully confessional.

Helen Hawkins, THE ARTS DESK

Silk Street Theatre, Guildhall School of Music and Drama - February 2023

Composer - Jake Heggie

Librettist - Terrence McNally

Conductor - Dominic Wheeler

Director - Martin Lloyd Evans

Lighting Designer - Ant Doran

Associate Designer - Kyra Coppini

Associate Lighting Designer - Ros Chase

Production Manager - Jamie Hulme

Stage Manager - Beri Valentine

Costume Suerpvisor - Evelien Van Camp

Photography - David Monteith Hodge

Anna Reid’s design sees pylons frequently drop from the ceiling, which can suggest a variety of things such as grid like communications that hint at the overall repression of the system. They also feature as trees in the opening Louisiana bayou scene where the murder takes place, with their manmade feel already hinting at the way in which this natural spot is about to be corrupted. Walls of tiles appear that convey the sterile atmosphere of the penitentiary, with prisoners frequently moving past them in their barred cells that slide on and off the stage. Sister Helen’s first journey to the Louisiana State Penitentiary is especially effective. As she sits in half a car that faces us, the tiled wall at the back parts just enough to reveal the road behind so that we gain a keen sense of the time and heat involved in this lengthy journey.

Sam Smith, MUSIC OMH

by Judith Weir

Silk Street Theatre, Guildhall School of Music and Drama - February 2022

Conductor - Dominic Wheeler

Director - Martin Lloyd Evans

Lighting Designer - Ant Doran

Production Manager - Hayden Gurney

Stage Manager - Emma Peace

Costume Supervisor - Claire Nicolas

Photography - Helen Murray

“terrific visuals”

David Truslove, Opera Today

“the remarkably flexible and inventive set ensures the one flows into the other with the minimum of delay and rearrangement... a series of detailed interior sets that are slid neatly in and out seamlessly. The opera benefits from a modified naturalism that gives you a keen sense of place but also split levels on which the action can develop… and the costumes contrast garish opulence and ragged destitution with detailed precision focused on significant hats or garments that speak volumes.”

Tim Hochstrasser, Plays To See

Silk Street Theatre, Guildhall School of Music and Drama - February 2022

Conductor - Dominic Wheeler

Director - Martin Lloyd Evans

Lighting Designer - Ant Doran

Production Manager - Hayden Gurney

Stage Manager - Emma Peace

Costume Supervisor - Claire Nicolas

Photography by Helen Murray

by Shelagh Stephenson

Hampstead Theatre - September 2021

Director - Alice Hamilton

Lighting Designer - Johanna Town

Composer and Sound Designer - Harry Blake

Assistant Director - Aysha Kala

Production Manager - Luke Child

Stage Manager - Saskia Godwin

Costume Supervisor - Isobel Pellow

Scenic Painter - Bret Naylor

Set Construction - Visualscene

Photography - Helen Murray

by Ifeyinwa Frederick

Soho Theatre and Paines Plough National Tour - October 2021

Director - Philip Morris

Lighting Designer - Simisola Majekodunmi

Composer and Sound Designer - Asaf Zohar

Assistant Director - David Gilbert

Movement Director - Yassmin V Foster

Production Manager - Hannah Blamire

Stage Manager - Laura Haynes

Set Construction - Mark Bramfitt

Photography - The Other Richard

Created and filmed on Zoom, released as 28 episodes on Youtube in association with Finborough Theatre - February 2021

Director - Lily McLeish

Lighting Designer - Ant Doran

Composer and Sound Designer - Julian Starr

Milton Court Studio Theatre, Guildhall School of Music and Drama - November 2020

Conductor - Dominic Wheeler

Director - Martin Lloyd Evans

Lighting Designer - Rin Akiyama

Production Manager - Tyler Edwards-Tagg

Stage Manager - Katherine Hodgson

Photography by Matthew Ferguson for FG Studios

by James Fritz

Oldham Coliseum Theatre - February 2020

Directors - Chris Lawson and Natasha Harrison

Lighting Designer - Stewart Bartles

Composer and Sound Designer - Andrew Glassford

Assistant Director - Siobhan McAuley

Production Manager - Lesley Chenery

Stage Manager - Jane Jones

Costume Supervisor - Bridget Bartley

Set Construction - Splinter Scenery

Photography - Joel C Fildes

“The slick white set is modern and middle class with the few splashes of colour provided by fresh flowers and Hunter wellies. Designer Anna Reid has created something crisp and beautiful that allows for nowhere to hide. The reflective panels add to the feeling of this family being utterly exposed and continually finding their perception of reality and truth shift as they uncover more real and fake facts about those fatal four minutes. “

LIVE ART ALIVE

“The set is simple, but highly effective. A mirrored frame invites the audience to think about the broader reaches of ‘internet uploads’… everyone in the audience could access an intimate moment from a family home and become a spectator, with their own sets of opinions and prejudices. The interior of the space is clean white, with just two chairs, two benches, stairs, books, flowers and phone. The main set is all plain white the parameters of an iPhone, very clinical but ‘every house’ like. Set designer Anna Reid provides a clever versatile space for the Fritz’s words to resonate and affect the audience”

Amanda Hodgson, NORTH WEST END

“The universality of the narrative is reflected in Anna Reid’s set. An immaculate white space, save for carefully chosen ubiquitously middle-class touch-points: a pair of Hunter wellies in the corner, a bouquet of flowers on the table. Our never-seen antagonist Jack is represented by a gap in the ceiling at the top of the stairs, which periodically glows like a laptop screen, an uncomfortable reminder that your digital footprint is ever-present. All the while our voyeurism is reflected back at us, with Reid’s mirrored frame around the stage carefully showing our complicity as an audience.”

Marthe de Ferrer, EVERYTHING THEATRE

“Designer Anna Reid creates a striking Instagram-worthy home for Di and David – clean lines, cream walls, white floor, and all brightly lit. A few colourful markers of domestic life catch the eye within the almost clinical surroundings – a vase of cheerful flowers on the table, red wellies and a green umbrella by the back door. As revelations spill out, those warm flashes of colour vanish, the light gets dimmer and shadows gather.”

CIRCLE AND STALLS

by Athena Stevens

Finborough Theatre - January 2020

Director - Lily McLeish

Lighting Designer - Ant Doran

Composer and Sound Designer - Julian Starr

Assistant Director - Wiebke Green

Assistant Designer - Rosie Whiting

Production Manager - Ian Taylor

Stage Manager - Lucy Barter

Set Construction - Nick Aldrich

Photography - Nick Rutter

“a delightfully non-realist staging from director Lily McLeish and designer Anna Reid”

Arifa Akba, THE GUARDIAN

by Oli Forsyth

Hampstead Theatre - July 2019

Director - Katie Pesskin

Lighting Designer - Ali Hunter

Composition and Sound Design - Ed Lewis

Production Manager - Ian Taylor

Stage Manager - Kate Eccles

Costume Supervisor - Becky Carpenter

Photography - Robert Day

“There is an elegance to Anna Reid’s simple design”

Chris Bennion, THE TIMES

“Anna Reid’s spare, white line-bordered playing space nods to a tennis court, and also begins to feel like an inescapable cell”

Marianka Swain, THE ARTS DESK

by Joy Wilkinson

Wilton’s Music Hall - June 2019

Director - Kirsty Patrick Ward

Lighting Designer - Peter Harrison

Composition and Sound Design - Max Perryment

Costume Supervisor - Isobel Pellow

Production Manager - Ian Taylor

Photography by Mitzi de Margary

by Torben Betts

Arts Educational Schools - May 2019

Director - Alex Thorpe

Lighting Designer - Sam Waddington

Composition and Sound Design - Eamonn O’Dwyer

Costume Supervisor - Ase Amy Djarf

Production Manager - Di Stedman

Photography by Andrew H. Williams

by Timberlake Wertenbaker

Tobacco Factory Theatres - April 2019

Director - Anna Girvan

Lighting Designer - Chris Swain

Composition and Sound Design - Keegan Curran

Costume Supervisor - Ruby Makin

Production Manager - Nic Prior

Photography by Mark Dawson

by William Shakespeare

Tobacco Factory Theatres - February 2019

Director - Mike Tweddle

Lighting Designer - Chris Swain

Composition and Sound Design - Max Perryment

Costume Supervisor - Ruby Makin

Production Manager - Nic Prior

Photography by Mark Dawson

“exemplary, innovative costume and set design”

Emma Robinson, A YOUNGER THEATRE

by Maud Dromgoole

Jermyn Street Theatre - March 2019

Director - Tatty Hennessy

Lighting Designer - Jai Morjaria

Composition and Sound Design - Yvonne Gilbert

Production Manager - Cameron Murray

Photography by Robert Workman

by William Shakespeare

Southwark Playhouse - January 2019

Director - Anna Girvan

Lighting Designer - Sarah Readman

Composition and Sound Design - Anna Clock

Costume Supervisor - Flora Moyes

Production Manager - Chris Randall

Photography by Tom Chaplin

by Dusty Hughes

Hampstead Theatre - December 2018

Director - Alice Hamilton

Lighting Designer - Jamie Platt

Composition and Sound Design - Harry Blake

Costume Supervisor - Flora Moyes

Production Manager - Heather Doole

Photographer - Robert Day

“Anna Reid proves herself again with a gorgeous set design, which turns the downstairs auditorium into a bona fide heaven.”

Cindy Marcolina, BROADWAY WORLD

“Anna Reid's lovely set springs a delightful surprise in the very last moments”

Alun Hood, WHATS ON STAGE

“Anna Reid’s walled-garden patio set is a bucolic success”

Anne Treneman, THE TIMES

by Ifeyinwa Frederick

Hampstead Theatre - November 2018

Director - Lakesha Arie-Angelo

Lighting Designer - Jai Morjaria

Composition and Sound Design - Duramaney Kamara

Costume Supervisor - Flora Moyes

Production Manager - Ned Lay

Photography by Robert Day

“Anna Reid’s design is a hilariously, enticingly tacky hotel bedroom which looks like it was pulled straight from the Love Island set – all sunset blues and oranges, beautiful for a moment and then increasingly sickly and claustrophobic.”

Ava Wong Davies, EXEUNT

“Anna Reid's set design is as bright as the women it holds: pastels and neons are set against the hues of a sunset… What makes the show a milestone, besides the exceptional writing, is the invigorating composition of the cast and creative team.”

Cindy Marcolina, BROADWAY WORLD

by Joy Wilkinson

Southwark Playhouse - October 2018

Director - Kirsty Patrick Ward

Lighting Designer - Time Deiling

Composition and Sound Design - Max Perryment

Costume Supervisor - Flora Moyes

Production Manager - Ian Taylor

Photography by Mitzi de Margary

by Athena Stevens

The Park Theatre - June 2018

Director - Lily McLeish

Lighting Designer - Dan Saggars

Composition and Sound Design - Pete Malkin

Costume Supervisor - Lily O’Hara

Production Manager - Ian Taylor

Photography by Stephen Cummiskey

by Joel Drake Johnson

Trafalgar Studios - April 2018

Director - Jonathan O’Boyle

Assistant Designer - Lily O’Hara

Lighting Designer - Peter Harrison

Composition and Sound Design - Max Perryment

Production Manager - Ian Taylor

Photography by Mitzi de Margary

by Tom Wells

Oldham Coliseum - February 2018

Director - Chris Lawson

Lighting Designer - Stewart Bartles

Composition and Sound Design - Lorna Munden

Costume Supervisor - Bridget Bartley

Production Manager - Lesley Chenery

Photography by Joel C Fildes

by Jen Silverman

Southwark Playhouse - January 2018

Director - Charlie Parham

Lighting Designer - Zoe Spurr

Composition and Sound Design - Hollie Buhagiar

Costume Supervisor - Lily O’Hara

Production Manager - Cat Compson

Photography by The Other Richard

by Abi Morgan

Old Red Lion - January 2018

Director - David Loumgair

Lighting Designer - Zoe Spurr

Composition and Sound Design - Dan Jeffries

Production Manager - Gareth Edwards

Photography by The Other Richard

"Strikingly designed"

Julia Rank, THE STAGE on TINY DYNAMITE

"Anna Reid’s set design... stands out. Strikingly, it provides a blissful contrast to the fraught emotional landscape: a wooden deck encircled by a moat evokes a place of serenity and idleness"

Brendan McDonald, EXEUNT

“The deceptively simple set, designed by Anna Reid, makes ingenious use of the limited space available”

THEATRE THINGS

by J.M Barrie

Southwark Playhouse - December 2017

Director - Jonathan O’Boyle

Lighting Designer - Peter Harrison

Composition and Sound Design - Max Perryment

Production Manager - Ian Taylor

Costume Supervisor - Lily O’Hara

Photography by Mitzi de Margary

"Designer Anna Reid has her work cut out conjuring both a drawing room and a wood in Southwark's small theatre. But simple elegant ideas - like the canopy of lampshades whose bulbs descend to invoke an intimate grove - transport us perfectly"

Lucinda Everett, WHATSONSTAGE

by James Shirley

Southwark Playhouse - May 2017

Director - Justin Audibert

Lighting Designer - Peter Harrison

Composition and Sound Design - Max Pappenheim

Costume Supervisor - Ellen Rey de Castro

Production Manager - Pip Robinson

Photography by Mitzi de Margary

"In this intimate auditorium on the architecturally clean lines of Anna Reid's set, there's an extraordinary sense of being in vaulted palace chambers and cathedrals as echoes and reverberations amplify our imaginations perfectly"

THERE OUGHT TO BE CLOWNS

by Alex MacKeith

Southwark Playhouse - February 2017

Director - Charlie Parham

Lighting Designer - Zoe Spurr

Composition and Sound Design - Michael England

Production Manager - Ash Mochan

Photography by Guy Bell

"spot on set by Anna Reid"

Dominic Maxwell, THE TIMES

"The set design, by Anna Reid, is perfect. It felt like I was back at my primary school: surrounded by the same bright blue, squishy little chairs for children, wavy coloured borders on the whiteboards, and towers of grey filing cabinets... It is intricate enough to feel real, and not messy enough to be distracting."

Rebekah Ellerby, A YOUNGER THEATRE

"Often, designers don’t get nearly enough credit, but in School Play, now running at Southwark Playhouse, they most certainly deserve it... Every detail, from the brittle, cost-effective carpeting, to the flickering fluorescent light, to the cards and personal knick-knacks that inhabit the desks, is a perfect recreation. The level of detail is unsettlingly accurate, and to those who attended a primary school like this, it’s instantly and spookily familiar."

Sophie Adnitt, BRITISHTHEATRE

 by Tom Wells

Oldham Coliseum Theatre - October 2016

Director - Chris Lawson

Lighting Designer - Mike Clarke

Composition and Sound Design - Lorna Munden

Production Manager - Lesley Chenery

Costume Supervisor - Bridget Bartley

Photography by Joel C Fildes

"The action all takes place in the local community sports changing room facilities and Anna Reid’s slightly grimy well used and much loved portrayal of such facilities is simple yet authentic."

Ruth Gerrard, THE REVIEWS HUB

by Phoebe Eclair-Powell

Soho Upstairs - July 2016

Director - Hannah Hauer-King

Lighting Designer - Natasha Chivers

Composition and Sound Design - Nathan Klein

Production Manager - Sarah Cowan

Photography by The Other Richard

* Selected for exhibition at World Stage Design 2017 as one of four emerging designers representing the UK

by Ruby Rae-Spiegel

Jermyn Street Theatre - November 2015

Director - Hannah Hauer-King

Lighting Designer - Joe Price

Production Manager - Nancy Nicholson

Photography by Richard Davenport

"The superb setting immediately suggests clammy, chlorine-infused collusion."

Fiona Mountford, THE EVENING STANDARD

"The excellent design by Anna Reid traps us in the worrying atmosphere of a locker-room after hours."

Paul Taylor, THE INDEPENDENT

by William Shakespeare

Riverside Studios - June 2014

Director - Zoe Ford

Lighting Designer - Jack Weir

Photography by Adam Trigg

“a pitch-perfect set”

Helen True, FEMALE ARTS

"an interesting and powerful set design"

Carla Turner, A YOUNGER THEATRE