For Looking at Lucian
designed in loving detail by Carla Goodman
Sarah Hemming, Financial Times
Using forced perspective to expand the tiny space of the Ustinov’s stage, Carla Goodman has painstakingly recreated Freud’s studio... It’s all here if you look for it: the piles of dirty rags that repeatedly appear in his works, including Triple Portrait (1986/7); the clunky unlaced boots of Painter Working, Reflection (1993) and the living palette of a painted wall in The Painter Surprise by a Naked Admirer (2005). The walls are a particularly evocative part of the set. Layers of browns, greys and reds dapple one on top of the other, but cutting through the cloud of colour is always the whitest of whites, Freud’s beloved Cremnitz White that created both the tone and texture of the skin in his paintings.
Rosemary Waugh, Exeunt
We are looking at the older Lucian Freud in his London studio. Its sash windows are boarded up; daylight enters through glass panels overhead. Paint-smeared walls become extensions of the painter’s palette: Carla Goodman’s realistic set symbolises a life contoured by painting.
Clare Brennan, The Guardian
the physical world here is perfect. Carla Goodman’s set is irreproachable; everything you could wish for, right up to the canvas-frame skylights that let Oliver Fenwick’s lighting sing.
Gill Kirk, Bristol 24/7
The designer Carla Goodman conveys a real feeling of place: the walls are left unfinished, so we see the sky and can almost smell the sea, never far on Guernsey. The whole set is both elevated and tilted, as skew-whiff as life under occupation must have felt. We never leave the house (the set, cleverly, shows both attic and kitchen) but, then, we don't need to.
Ann Treneman, The Times
Carla Goodman's beautifully dressed set is elevated on different levels to show the darkness below the house, the ground-floor kitchen, and what becomes Gabriel's room in the attic. A vast expanse of sky is always visible, with menacing-looking clouds that change colour and atmosphere with Will Evans' clever lighting. There is more than a subtle hint of the levels of hell, earth and heaven.
Aliya Al-Hassan, Broadway World
Carla Goodman's powerful stage set evokes the declining fortunes of the Becquet family... Every aspect of this production is outstanding.
Dave Jennings, British Theatre Guide
Carla Goodman's set seems to float the house above the stage against a brooding seascape, echoing the isolation of the island and the characters.
Paul Vale, The Stage
If you know someone who needs reminding how spellbinding live theatre can be, get them to see Gabriel .
Jamie Mcloughlin, Liverpool Echo
The show definitely owes its dynamism to the structure – chaotic yet well-knit makes the very same lines sound funny first, to unclothe their grim touch later on. Moreover, a clever use of both stage design and properties allows the actors to depict various spaces and circumstances effectively and authentically.
Magdalena Puilt, Theatre Weekly
The playfulness of the storytelling never undermines the seriousness of the subject matter. The use of images and video footage of the people and events described here keeps jolting us back to reality.
Allan Radcliffe, The Times
Bystanders is an energetically performed and cleverly executed piece, reminding us that behind every statistic or news story there's a human being.
Eliza Gearty, The Skinny
…pugnacious, political and urgent
Mark Fisher, The Guardian
For Lunatic 19s
Carla Goodman’s bare, blood-red set brilliantly invokes the blood of Gracie’s miscarriage and the physical brutality of displacement and deportation.
Arifa Akbar, The Guardian
Carla Goodman’s design is the absolute highlight
The View From the Circle
For Heartbreak Hotel
Carla Goodman’s design, cunningly constructed from shipping containers, is enticing. The hotel’s name, picked out in lights, winks an invitation of gently decaying, end-of-pier charm
Sam Marlowe - The Times
It's hard to fault Carla Goodman's design, which has beautifully transformed the containers into numerous distinct rooms that make up the hotel.
Rosie Bannister - What's on Stage
The designs from Carla Goodman are excellent
Tom Eames- Digital Spy
The attention to detail lavished on the sets and dressing here is breathtaking.
Richard Unwin - Gay Times
I was impressed by Carla Goodman's impeccable design for each room
Jody Tranter - West End Frame
For Lose Yourself
Director Patricia Logue starts with an easy pacing as we’re introduced to each individual, but as the story unravels so does everything else, with an almost panicked edge coming through at the height of the night out. It is also in this moment that Carla Goodman’s design really bursts to life; blocky squares lined with neon lights are stacked at various heights – each and every surface has the potential to become a dance floor
Caragh Medlicott, Wales Arts Review
Director Patricia Logue keeps the play pacy and rhythmic, using Carla Goodman’s set to great effect. It’s a simple but atmospheric one that brings the play to life
Kevin Johnson, Get The Chance
For Martha, Josie and the Chinese Elvis
Carla Goodman’s effective set consists of a living room in which images of the real Elvis feature heavily, beneath a structure that is half birdcage, half snow dome….Gemma Fairlie’s production creates a feeling of epiphany, as the characters slowly find that their own personal cages can also become snow domes.
Wendy Pratt, The Stage
Carla Goodman has constructed a domed bird's cage for Charlotte Jones's comical but poignant 1999 drama , wherein everyone is looking for an escape, or a flight of fancy, a transformation, in search of love and fulfilment.
Charles Hutchinson, York Press
For Pride and Prejudice
The main story crackles with ideas. Set within an enormous gilded birdcage, the scene shifts from sitting room to ballroom to sitting room with minimal fuss, but always within the boundaries of the large bars.....an inspired creative team and a game company have made Pride and Prejudice fresh again.
Peter Kirwan, Exeunt magazine
The play is beautifully dressed in the lush costumes of the early 1800s, and is set in a giant birdcage of a set. This is the work of designer Carla Goodman and the cast’s work in regularly re-dressing the set is done with great fluidity.
Philip Lowe, East Midlands Theatre
Carla Goodman has created a versatile set encased in an elegant birdcage.
Ann Treneman, The Times
... That's when I fell for this production, set within a gilded cage...I wish I could take my teenage self.
PN, The Sunday Times
For Miss Julie
The design, by Carla Goodman, is impeccable and noticeable, in the best possible way, as soon as one enters the space. It evokes a pitch-perfect gut feeling for what is to come.
Jamie Pohotsky, Live Theatre UK
Carla Goodman’s set is detailed with an old fashioned stove, ornaments and dried herbs and flowers hanging from every nook and cranny, setting a rustic feel that only adds to the authenticity of the 19th century kitchen in which the whole play takes place. Likewise, Goodman’s costumes also excellent.
Charlotte Darcy mytheatremates.com
beautifully designed by Carla Goodman
Gary Naylor broadwayworld.com
For Pig Farm
Top marks for Carla Goodman’s credibly rundown kitchen set.
Libby Purves - Theatre Cat
The entire play is set in the kitchen of Tom and Tina's house, and Carla Goodman captures the run-down state of the farm perfectly. The kitchen appliances are all dirty with years of grime and the table is stained as though from years of use.
Laura Jones - Broadway World
great design by Carla Goodman
Veronica Lee - Arts Desk
For Listen We're Family
The stage is homely for ‘Listen, We’re Family’: a sofa, a dining table, a display cabinet littered with books and keepsakes. It’s the perfect setting to tell the story of familial relationships of people who grew up in the ‘old East End’.
Lucie Horton - Time Out
the set design is most inviting
Alan Flynn - everything theatre.co.uk
For Mush and Me
..designer Carla Goodman and director Rosy Banham have to be commended for a truly beautiful set.
Ben Hewis - What's on Stage
For Miss Nightingale
Designer Carla Goodman offers us a small stage, suitable for the intimacies of a night-club, flanked by the musical instruments and with George's spartan bedsitter to one side and a suggestion of a dressing-room to the other. It all has an air – appropriate for the period and the story – of make-do-and-mend, so the ENSA finale really packs a punch of its own.
Anne Morley-Priestman - What's on stage
This is a gorgeous, glamorous, hugely entertaining show that simply revels in its setting and atmosphere.
Andrew Clarke - East Anglian Daily Times