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"The design is visually mesmerising and creative, as it allows a gamified interaction between Eleanor’s real body and Eleanor’s digital self. This creates a new level of intimacy, explored through varying phone angles that would have been impossible to achieve otherwise. Quite literally, we can see what she is hiding under the sheets." - The Play the Thing UK

"Designer Constance Villemot has carefully recreated the 1960s with a set that is full of accurate touches. It beautifully generates nostalgia for those old enough to remember." - Everything Theatre

"Jess Barton’s staging, along with set design by Constance Villemot, and lighting design by Beth Bains, creates a rich and characteristic atmosphere that steps between the worlds of the characters, allowing the audience to experience the relationships between the women, the men, the characters as couples, and the internal conflicts that they each come to terms with. Diversifications demonstrates the intensity and importance of design as a dramatic device in a performance heavy show." - The Reviews Hub


"On a set that looks like the model for Tracey Emin’s My Bed, Eleanor Hill tells stories of obsession and depression, self-harm, trauma, over-indulgence, and being stalked by squirrels." - The Reviews Hub

Interview about Remote at the Marlowe Theatre: here

"It did make Look Who’s All Grown Up, with its cast of five and an opening set design that probably looked much more expensive that in reality it was (much praise to designer Constance Villemot), quite a pleasant surprise." - Everything Theatre


"Design-wise, Constance Villemot excels. Villemot using a small rostrum to shrink the playing space further, authentically creating a cramped, uninspiring dorm-room decorated with three uniform beds and leaden lockers for any possessions, an adroit, veristic depiction of the dreary reality of the women’s lives. Almost prison-like in nature, magnificently fostering this sense of their entrapment in both the limbo of their reality and their own minds, having little to occupy them as they wait. Anchoring the piece well in this Direct Provision Centre and creating the perfect greying backdrop for the vivid imaginations of the women to take flight.." - Ask the Ushers

"Constance Villemot’s set perfectly conveys a busy press office with desks cluttered with newspapers, laptops, notes and pens, a whiteboard and television showing the breaking news. Aided by the Hope Theatre’s intimate setting, we feel part of the department." - Camden New Journal

"Constance Villemot’s well thought out set gives us the untidy press office with a TV on the wall… showing that well known news organisation BNN… as we see what is really happening outside. Sound and lighting added to the drama." - London Pub Theatre magazine 

"Constance Villemot’s design really brings to life the press office location, and is evocative of the many open plan offices I’ve worked in across the years." - View from the outside

"The Hope Theatre is such an intimate venue that this was perfectly incorporated with the layout of the room. A large table was in the centre of the stage, with two rows for audience on three sides surrounding the table. It left little room for the actors and almost felt as if we were part of the performance. The characters knew the world was watching them to see what move they would make in the play, and we could see their distress very clearly." - Those London Chicks

"The classic nineteenth-century urban street setting – worthy of Oliver or Les Mis – gives the cast a huge stage to work with, which is just as well as there are quite a few of them!" Everything Theatre 


"A bridge and sewer below face down to Jekyll’s house and the evocative set designed by Constance Villemot is well used throughout." The Spy in the Stalls


"In this production of Jekyll & Hyde which is directed by Jonny Morton, the patina of Victorian London is fully realised. As the audience walks through the corridors, the walls themselves are made to look like seasoned brickwork, adorned in vintage posters. Utilising traverse staging, the audience then sits either side of ‘the street’, watching what happens outside the doors of people’s homes and the well-crafted arch/balcony at one end of the stage area." Breaking the Fourth wall 


"Constance Villemot's authentic setting takes us back to the latter years of Victorian London with much brick work simulating buildings, a kind of bridge over an archway at one end of the acting area, and Dr Jekyll's laboratory at the other end, cleverly appearing via a revolve to show his scientific glassware lit from behind." Actdrop 


"The production, in Dr Jekyll’s lab was visually amazing and a personal highlight. The smoke machine, green lights reflected onto all his potions in glassware gave off Rocky Horror Picture Show vibes. " Curtain Call  


"Entering the theatre, you are immersed in a Victorian London, with the traverse staging being a street leading to Jekyll's front door. The set is excellent, designed by Constance Villemot with a multitude of doors leading off the street and a victorian bridge at one end. The set is well utilised, meaning it never feels overcrowded by its large cast." Cue Charlotte 

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