Fi doesn’t just design sets, she helps make them too!

When did you get asked to do the costume and set design for The Hound of the Baskervilles?

I have had the pleasure of designing for Director John Nicholson on 5 previous productions, so when he asked me in January if I’d like to get involved I was thrilled, especially when he told me what he had in mind for this exciting production.

How did you come up with the concept for the production and why did you pick this?

This is a production that has been done many times before, John wrote the original around 20 years ago and has been in and involved with various previous versions, he was keen to move away from the heavy Victorian aesthetic that many productions have used and instead give the physical comedy space and energy whilst maintaining some nostalgia. Being a Devonian I am very familiar with the GWR posters from the early 20th century that portrayed Dartmoor and drew inspiration from these, giving it the nostalgic quality. I wanted to create a sense of play and felt that leaning into cartoon and illustration would help this, and was particularly drawn to the beautiful London background in 1961 ‘101 Dalmations” film. The energy came from John and my love of Hockney landscapes which are almost fauvist in their colour and naivety. This set enables the sense play whilst the depth of colour still lets there be drama and scary moments too.

What part of designing a show like this is the best, what do you enjoy the most?

It’s really hard to choose which bit I like best. From the initial conversations and imagination, to working with lots of amazing people pulling it all together to the last moment big reveal when the thing that was in your head and then a tiny 1 to 25 model is suddenly in front of you. There are always surprises along the way that add to the joy, for instance, this time seeing how Simi (Simisola Majekodunmi – Lighting Designer) could light the backdrop to make it look like the moon on the moors was stunning.

What was your first theatrical experience and did that influence you getting in to your career now?

Aside from the early nativity plays—where my mum, a teacher, had me helping with tea towel headdresses and my doll stood in as baby Jesus—and the occasional trip to a panto, my first real experience with theatre was being in Scouting Gangshows: large-scale variety performances put on by local scouting and guiding troops. It was great working with like-minded people and getting a glimpse into how the magic came together.

What’s your go-to snack for the long days?

Strawberry fizzy laces help me stay awake when I’m working through the long days and nights.

How do you celebrate getting to the end of a show?

It is lovely to come together with the rest of the team for a celebratory drink after the first show and press night.

Do you do design for anything other than theatre?

My main focus is theatre, however over my career I have found myself designing some interesting things such as a mini golf course.