Berry Cook: a private view

OffWestEnd Award nomination for Best Set Design

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“The wonderful set designed by Juliette Demoulin… is as witty, quirky, and random as the paintings themselves.”

Nilgün Yusuf, London Pub Theatres

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“Juliette Demoulin’s set is as much like Cook’s studio as is possible.”

John Groves, LondonTheatre1

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“Juliette Demoulin set Designer, encompasses the quirky tastes and collection of objects.”

Elaine Chapman, Theatre and Art Reviews

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”Many scattered motifs and inspirations that Cook aficionados will recognise.”

Nilgün Yusuf, London Pub Theatres

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“A range of letters, pictures and other objects it is worth staying to take a look.”

Elaine Chapman, Theatre and Art Reviews

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Lies Where It Falls​

“Intricate design work from Juliette Demoulin.”

Liam O’Dell

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“Juliette Demoulin’s simple yet evocative set.”

John Groves, LondonTheatre1

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“Juliette Demoulin’s set, with a bloodstained floor and a wall of old IRA newsprint stories, partially covered by paint, encapsulates the notion that emotional trauma is like an unshakeable memory, etched into our psyche as physical scars are to our bodies.”

Holly O’Mahony, The Stage 

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Until She Sleeps​

“Several highlights included good direction (David Furlong) and stylistic choices that were simple and effective. The set was minimal but elegant while the music was jarring and reinforced the plays tense undercurrents."

Annie Power, London Pub Theatres

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Burnt Up Love​

“Juliette Demoulin’s set is miraculously simple.”

Simon Jenner, Fringe Review

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“Perhaps the most impressive feature is the lighting design by Juliette Demoulin which neglects the use of traditional theatre lighting in favour of the strategically lit candles and torchlight.”

John Montgomery, London Pub Theatres

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The Cane​

“The stage set-up is realistic with a touch of abstraction."

Adventures in Theatreland

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How to Disappear Completely and never be found​

“Juliette Demoulin’s set design is very clever, using projected location backdrops on screens that flip to dress scenes as required. Fitzpatrick’s direction allows the invisible to be visible behind the scenes, adding to the unease."

Lou Reviews

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"The sparse staging of the play’s opening moments is deceptive – Juliette Demoulin’s set quickly becomes a character in its own right as flats are wheeled on and off stage by the cast at speed, spinning to reveal wardrobes, offices, and a towering toilet!"

Mark Aspen 

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The Trumpeter​

“Hakan Hafizoglu’s lighting and Juliette Demoulin’s straightforward set design greatly aid the creation of atmosphere.”

John Groves, LondonTheatre1