'Fiammetta Horvat’s delightful set is also ground-breaking, cramming a symbolic house into two time levels, forcing the four actresses to clamber bravely over a suspended bath and bed, in their efforts to reach allotted positions.'
On the one hand. 2013. Philip Fisher. British Theatre Guide
'...scenes are played out on, in and around the piece’s visually striking set design....this provides for some wittily ingenious exits and entrances, as well as presumably signifying the extent to which women’s lives tend to be grounded in the domestic...'
On the one hand. 2013. Wilson. The Scotsman
'Once again Fiammetta Horvat has produced a stunning and innovative yet simple set design for the company - with a rectangle block filled with a fridge, bath, table and bed - utilised by performers within and between scenes. This naturalistic domestic set-up is turned on its head as the space is used with multiple functions beyond what you would expect.'
On the one hand. 2013. Amyjanessmith.blogspot
'The set was excellent and was also woven into the story well. I sort of felt that the characters climbing and overcoming the challenges of the set symbolised the up, down, back and forth surprising process of living.'
On the one hand. 2013. Zoe parker. theculturevulture
On the one hand. 2013. Catherine Love. Exeunt Magazine
'Fiammetta Horvats Set und Videoprojektionen vermitteln intensive visuelle Eindrücke.'
Das Märchen vom alten Mann. 2013. Der Standard
'Immer wieder illustrieren an Scherenschnitte erinnernde Bildelemente auf den durchscheinenden Stellwänden der Buhne (Fiammetta Horvat) die Suche eines lange zeit stummen, alten Mannes nach seiner Vergangenheit.'
Das Märchen vom alten Mann. 2013. Tageszeitung Seite
'Das Bühnenbild von Fiammetta Horvat besticht durch schlichte weiße Schiebeflächen und gekonnter Videoübermalung.'
Das Märchen vom alten Mann. 2013. Petra Paterno. Wiener Zeitung
'Das Bühnenbild suggeriert ein Haus aus mehreren papierdünnen weißen Wänden mit Öffnungen, die auch verhängt werden können. Anfangs stehen sie, verschieden groß, hintereinander gestaffelt zu mehreren Fenstern und schmalen Durchgängen, doch diese Ordnung ist auch nur dem Treiben des alten Mannes unterworfen. Seine Gedankenwelt wird oft mittels Projektionen auf den Wänden intelligent sichtbar gemacht, in Form einfacher Zeichnungen oder als eine Art Schattenspiel.'
Das Märchen vom alten Mann. 2013. Sebastian Rieger. Jungekritik.com
'Callow’s task is somewhat alleviated by the spareness of Fiammetta Horvat's set: a blank, black canvas on which his only physical task is to occasionally move around a collection of wooden chairs intially concealed behind the fire-doors at the rear of the stage area. The featureless spartan setting, and the fact that Callow is the only moving object that the audience has to fasten on, sharply focuses attention on Hurt’s investigation of the impact Jesus made on individuals with whom his life at some point intersected.'
Irish Theatre Magazine
'Out of this pile, Fiammetta Horvat's design enables vivid recreations of the Last Supper, the money-lenders in the temple, the brutality of Golgotha and other set pieces.'
. Jane Coyle. Irish Times
'the naked simplicity of the set...'
The man Jesus. 2013. Cathal Delea. thegown.net
'The stage is completely stripped back, the brick walls and fire evacuation sign giving a sense of stark bareness, of barrenness, almost of bleakness. This allows the audience to focus only on the actor on stage and gives the feeling of the story being told in any space or time.'
The man Jesus. 2013. classygenes.blogspot.co.uk
'...the set had a similarly gentle, gradual evolution. ...set designer Fiammetta Horvat came up with her character-led, delicately soft design...'
Mess. 2012. Alice Saville. Exeunt magazine.
it’s quirky fairy tale like set designed by Fiammetta Horvat, hides plenty of surprises and many beautiful images.
Mess. 2012. John Roberts. The Public Reviews
...director Swift and designer Flammetta Horvat find strikingly evocative ways of presenting Josephine's journey visually, from symbolising her anorexia by a Rapunzel-like tower in which she hides from the world's impurities to the total mess that is made of the stage at the end to celebrate her recovery.
Mess. 2012. Gerald Berkowitz. TheatreguideLondon
Beneath a pink-lit parasol on a tower of towels, Josephine holds court like Samuel Beckett's Winnie in Happy Days.
Mess. 2012. Neil Cooper. Herald Scotland
Fiammetta Hovat’s set invokes comfort and looks like a giant wedding cake with an illuminated swimming pool ladder and a giant cocktail umbrella. The cream filling is a slowly emerging duvet which suggests that the thing which gives Josephine the most pleasure is a dark, confused tangle of food and sleep.
Mess. 2012. Helen Brown. The British Theatre Guide
The set was delicate and brilliantly transformed into a landscape of Josephine’s inner mind.
Mess. 2012. Roaming Reviewer.com
The candyfloss and fairy lights aesthetic rubs against the subject matter brilliantly, as it manages to show the world as Josephine sees it.
Mess. 2012. Matt Trueman. NewStatesman
Finally, the piece was tied together by the simple yet symbolic set. Cleverly designed by Fiammetta Horvat, it lent itself to the performance brilliantly.
Mess. 2012. Onestopsart.com
...sits atop a platform under a fairy-light bedecked parasol, like a lonely princess in a children’s story...Mess. 2012. Fiona Hountford.
Mess. 2012. Postcard from the Gods.com
Fiammetta Horvat's set represents the concept of anorexia – a huge mound that distances the subject from reality, a warm blanket of comfort and reassurance, and several gold medals that denote weight loss and achievement.
Mess. 2012. Emma Hay. Tv Bomb.com
Josephine's anorexia is represented by a cloud-like duvet and a pink parasol, a soothing place to which one can retreat...
Mess. 2012. Natasha Tripney. The Stage
Anorexia is represented by a high platform covered with white camberwick that stretches on to the floor. Josephine decorates it with a parasol hung with medals (for ounces lost), fairy lights and a duvet. Everything is white, calm, pretty and quiet up there.
...the piece is elegantly lit and staged.
Mess. 2012. Lisa Wolfe. The Total Theatre Review
The stage is partly covered in a white carpet of bath mats, with a step ladder leading up to Josephine’s attic bedroom. Here she hides under the soft feather duvet in her nest, her comfort zone where she can escape.
With her long, girly Alice in Wonderland hair and pretty dress, Josephine often appears like a doll...
Mess. 2012. Vivien Devlin. EdinburghGuide.com
On Fiammetta Horvat's deft set, the cubicles become phone booths, changing rooms and nightclub toilets, the graffiti on the walls and the loo paper provide the script.Thirsty. 2011. Alice Jones. The Independent
Fiammetta Horvat’s ingeniously simple set consists of three toilet stalls – one contains musician Shane Durrant, the other transform into bedrooms, nightclubs or changing rooms.Thirsty. 2011. Deborah Smith. Whatsonstage.com
Fiammetta Horvat’s set evolves from aptness into playful versatility.
Thirsty. 2011. Suzanne Black. The List
Framed with an unusual set, involving three bathroom stalls and many, many (many) glasses of alcohol...
Thirsty. 2011. Richard Marsh. Whatsonstage.com
As you enter the barn like Pleasance Two you are greeted by an SFX drip and a wonderful stage setting that will instantly draw you in to the Paper Birds 'Thirsty' world.
All of this action takes place in a public toilet, which sounds like it might detract from the spectacle; but in fact the set design adds to it enormously. The trio of Fabergé toilet stalls continually spring surprises throughout the performance. It is a wonderfully imaginative depiction of a mundane everyday environment.
Thirsty. 2011. Charlie Galbraith. www.informededinburgh.co.uk
The stagecraft is a joy. A string of cut-out paper children are slowly concertinaed out of view as they are evacuated from their homes. A clothes line full of washing is backlit to reveal a city in flames, bombs raining from the sky. There are numerous vintage suitcases strewn around the set and in these become accordions, typewriters, kitchen tables;
Waiting for Stanley. 2012. Natasha Tripney. Exeunt Magazine
The set is deceptively simple, a stack of suitcases in keeping with the starting point, a railway station, but nearly every one of those cases has a secret to reveal or contributes to the action in some way. Our imagination recreates the space as the interior of her home, her kitchen, the shelter... whilst the suitcases become kitchen tables, typewriters, a child’s bed...
Waiting for Stanley. 2012. Kate Saffin. Fringereview.co.uk
What appears to be the detritus of a rundown wartime railway station provides (quite literally) a box of tricks, as suitcases transform into radios, cribs, typewriters and many other props.
Waiting for Stanley.2011. Naylor. Westend.broadwayworld.com
Waiting for Stanley. 2011.
Time Out -Critics Choice
From the moment I entered the ‘Slick’ gates to when I left an hour and a half later, I really felt that I had left Sheffield behind and been transported to a new world.
Slick. 2011. Ruth Amos.www.veritamag.com
Around 250 members of the National Youth Theatre descended on the beach at Selwick Bay, Flamborough, last week decked out in bright orange overalls, to launch a new environmental initiative.
Slick. 2011. Bridlington Free Press
…“a memorable set. Ibsen's "spacious garden-room" and glass-walled conservatory become a dim, permeable hothouse space — separated only by thin strands, reaching from floor to ceiling — and a multitude of light bulbs swinging eerily from above. Static rain runs constantly down the back wall; a television, similarly grainy, has been integrated into the book and magazine-laden table at center stage, occasionally providing a cacophony of voices. Most unnervingly, the back of the stage is lined by potted plants connected to IV drips.”
Ghosts. 2010. Elina Mishuris. Washington Square News
“The most noticeable star of the play is the set. Created by
Ghosts. 2010. Whistness. Quazen.com
…"a smart modernist set treatment by
"Fish wires run vertically linking the stage floor to the ceiling. These lines form a cage and transparent means for the audience to watch the drama unfold.”
…"an image of rain back lit on clear material adds to the human and weather dreariness.”
Ghosts. 2010. Rugarberry.com
…”the ultra-cool set by Flammetta Horvat […]its very unique and disturbing elements: different length wires with working light bulbs attached dangle from the ceiling, hospital I.V. bags hang over numerous potted plants spanning the back of the stage, a transparent cage created out of fish wire maps out the main playing area and three television screens separate the stage in thirds, showing a flurry of images that echo the actors' interior feelings.”
…”the set is a vast presence.”
“The entire space becomes an exercise in transparency and illumination, thickly stylized.” […] ”… visual brilliance…”
Ghosts. 2010. Joseph Samuel Wright. Theatre is easy. theasy.com
"There are moments of impressive stage invention that evoke the transformative wonders of electricity" "…show's visual highlights."
Terrific Electric. Barbican Pit. 2007.
…”its designers and director in particular, that the actors are never upstaged by the effects, despite this being some of the most effective technical design I have seen.”
Terrific electric. Barbican Pit. 2007. Louise Hill. British Theatre Guide.
”...a chaque détour d'une scénographie originale créée par sa fille Fiammetta sous la forme d'un labyrinthe."
Labyrinthe Horvat. Musee Landowski. 2007. Figaroscope
“The set is noteworthy: what looks like a few bits of metal and plastic resembling a run-down old platform, transforms itself to neighbours' trees and secret hiding places in the blink of an eye.”
Anorak of fire. Etc theatre. 2004.
…” set of wooden blocks and burnt paper strikes the right note of impoverished seediness...”