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simon bejerdesigner

The Magic Flute – The King’s Head, London – director John Savournin

Director John Savournin’s production takes place in a charming grotto that transforms the King’s Head back room into a stunning forest scene with floor to ceiling vines and canopies that sits the audience in the centre of the action. Designed beautifully by Simon Bejer, assisted by Jessie Hutchin and Jefferson Miranda, there is exquisite attention to detail and a thoroughly realised concept that unites set, costumes and props in a South America meets Boy’s Own Adventure meets fairyland world.

At every stage the design entirely supports the action, uniting with Nicholas Holdridge’s lighting to create memorable moments as sunlight shines through the leaves in times of hope, or as reflections of mystical voices calling to the protagonists. It keeps the audience entirely focused on the action, and never breaks the spell.

The Reviews Hub, May 9, 2017

Here transposed to the South American Jungle, Charles Court Opera's production is full of enchanting puppetry, magic and witty surprises.

Broadway World, May 5, 2017

The Love for Three Oranges – The Zagreb Croatian National Theatre

The staging features playful and magical scenery and unusual costume designs incorporating many humorous elements by the young [Australian] designer Simon Bejer

Dnevik, February 15, 2017

Kiki’s Delivery Service – Southwark Playhouse – director Kate Hewitt

It's all helped by Simon Bejer's brilliant design, which stacks the space full of huge boxes that open up to reveal stacks of parcels, or picture-perfect spreads of cakes.

Time Out, 1 August 2017

What strikes the audience first as they take their seats is the set design. Constructed by what seems to be large square and triangle-shaped building blocks, the set itself opts for both functionality and metaphor as it invokes a sense of playful innocence that is mirrored throughout the rest of the performance. Some of these building blocks are later moved, unfolded and tossed around as props to great effect

The Upcoming, December 14, 2016

The set is seamlesslyinterchangeable, comprising blocks in purple hues to give the impression of a city, balanced by clear, colourful projections of treetops, the moon, snow, and even the rush of wind as Kiki flies. There’s plenty of theatrical magic embedded in the design … I was particularly enchanted by the sense of standing with Kiki on the rooftops of an unknown town, conveyed solely through pyramid-shaped blocks laid out like rows of houses below.

Exeunt, December 14, 2016

… designer Simon Bejer’s box park set (a model of swift transitions between the narrative’s many locations) – and the costuming is aptly contemporary with abundant references to the Japanese styles of the pre-mobile phone era.

Britishtheatre.com, December 13, 2016

The Magic Flute - Charles Court Opera at the Iford Festival – director John Savournin

Simon Bejer's design takes us to the Peruvian rainforest, filling the stone cloister with luscious ferns and lianas, where lusty tribeswomen hunt unsuspecting strangers and Sarastro, bare-chested and crowned with a Mohican of turquoise parrot feathers, presides over his hooded followers in an Inca temple of enlightenment. The distinctively tropical, exotic feel of the production, which includes some wonderful glowing UV snakes and an hilarious trio of singing puppet parrots, is a true visual treat.

Bachtrack, July 14, 2016

Charles Court Opera's designer Simon Bejer has enclosed the courtyard with overheadvines. Tamino is an explorer seeking enlightenment, not a prince, lost in a South American jungleand Papageno'spipes give the cue for Andean colour in his and Papagena's cheery costumes.

The Arts Desk, July 9, 2016

Riders to the Sea & Savitri – British Youth Opera at The Peacock Theatre – directorRodulaGaitanou

… BYO’s production, by RodulaGaitanou, designed by Simon Bejer, manages very effectively. Riders to Sea gets spare semi-naturalism: everyday objects – a chair, a broom – hanging in the air, and the husband and sons Maurya has already lost sitting in a mute circle onstage, while Sāvitri is less precise, with flowery prints for the husband and wife, and Death got up as an Indian prince on a throne amid a carpet of flowers.

Guardian, September 10, 2015

Jonah and Otto – Park Theatre – director Tim Stark

What should I look out for? Simon Bejer’s simple set that holds a sweetly gratifying surprise.

Official London Theatre Guide, October 30, 2014

The Little Green Swallow – British Youth Opera at The Royalty Theatre – director Stuart Barker

Here, among the 11 named roles, plus a group of three singing apples – one of many elements, incidentally, cleverly visualised in Simon Bejer’s designs, which provide the evening’s outstanding feature – there’s a wealth of talent on display.

The Guardian, September 10, 2014

Patience – Charles Court Opera- King’s Head Theatre – director John Savournin

It's a brilliant piece of stage design and construction, though the bar is unusual in that no-one seems to pay for their drinks and customers help themselves. Just the sort of pub I’d patronise.

British Theatre Guide, June 4, 2014

Someone remarked that the pub, created by designer Simon Bejer, feels more real than the one we passed through to access the auditorium.

Ham & High, June 12, 2014