Uncle Vanya  (2011) Directed by Helena Kaut-Howson for Belgrade Studio Theatre and Arcola Theatre.  Photographer: Alex Wardle   The Guardian review:   'Real trees and scattered furniture combine to evoke, in Sophie Jump's design, both the immensity of the Russian countryside and the fragility of the lives of the characters who inhabit it'.    Daily Telegraph review:  ' ...birch trees, which we see, sinuous and oppressive, planted about Sophie Jump's meticulously designed domestic interior. In terms of atmosphere, it feels authentic...'       British Theatre Guide review:   '[The] attractive design concept, given body by Sophie Jump, perfectly fits the new Arcola's thrust space and evokes the period well, proving a good setting for the tale of unfulfilled lives as the Russian landed gentry began to see their birthright disappear'.    Evening Standard review:   'Sophie Jump's set suggests the isolation of life deep in the Russian countryside'.      
       
     
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  Uncle Vanya  (2011) Directed by Helena Kaut-Howson for Belgrade Studio Theatre and Arcola Theatre.  Photographer: Alex Wardle   The Guardian review:   'Real trees and scattered furniture combine to evoke, in Sophie Jump's design, both the immensity of the Russian countryside and the fragility of the lives of the characters who inhabit it'.    Daily Telegraph review:  ' ...birch trees, which we see, sinuous and oppressive, planted about Sophie Jump's meticulously designed domestic interior. In terms of atmosphere, it feels authentic...'       British Theatre Guide review:   '[The] attractive design concept, given body by Sophie Jump, perfectly fits the new Arcola's thrust space and evokes the period well, proving a good setting for the tale of unfulfilled lives as the Russian landed gentry began to see their birthright disappear'.    Evening Standard review:   'Sophie Jump's set suggests the isolation of life deep in the Russian countryside'.      
       
     

Uncle Vanya (2011) Directed by Helena Kaut-Howson for Belgrade Studio Theatre and Arcola Theatre.

Photographer: Alex Wardle

The Guardian review: 'Real trees and scattered furniture combine to evoke, in Sophie Jump's design, both the immensity of the Russian countryside and the fragility of the lives of the characters who inhabit it'.

Daily Telegraph review: '...birch trees, which we see, sinuous and oppressive, planted about Sophie Jump's meticulously designed domestic interior. In terms of atmosphere, it feels authentic...'

British Theatre Guide review: '[The] attractive design concept, given body by Sophie Jump, perfectly fits the new Arcola's thrust space and evokes the period well, proving a good setting for the tale of unfulfilled lives as the Russian landed gentry began to see their birthright disappear'.

Evening Standard review: 'Sophie Jump's set suggests the isolation of life deep in the Russian countryside'.



 

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IMG_4000.JPG
       
     
IMG_3992.JPG