By Lawrence Wilson
Dir. Athina Deliadi
Carne Studio, London.
Set Design, Scenic Art and Model Bridge.
Blackberry Troutface shows three young people in the face of adversity, abandoned by their mother and facing life in social care unless they can support each other and learn to accept one another. They live in a grotty old house in Liverpool, and the grime can clearly be seen on the walls as well as the lack of care with wallpaper peeling of the kitchen walls and damp clinging to the ceiling. They are surrounded by dirt and food packaging, and the decor is clearly that of around twenty years previous if not older.
Everything was consciously sourced to look as if nothing had been altered in years, with an old styled oven, vintage wallpaper and avoiding contemporary set dressings. Although I didn't design costume, it was a collaborative decision to leave parts of costume around the living room and in the laundry basket so characters could change on stage during transitions.
In the play, Kerry dreams of being the next Isambard Kingdom-Brunel, and is always referring to her model when she's under duress. The bridge is the only fragile thing in the entire space, it is the focus of all of her hopes and remains safe until she feels she has nothing left to hope for...