“A Passionate Woman is played out on an ingenious revolving set designed by award winning Rose Revitt that takes us from a dusty loft space to the roof tops.”

“ all praise to designer Rose Revitt”

“Looking through the detritus in her attic - a brilliantly realised musty, dusty monochrome set from designer Rose Revitt - helps Betty to recall a passionate affair she had in her 20s and ruminate on all the years she has lost to a stale marriage and a husband who doesn’t appreciate her

.... As events escalate, the innovative nature of Revitt’s set and the technical prowess of the production becomes clear. The finale sees all three family members teetering precariously on top of the roof with rescue attempts being made via a fire engine crane and - even more impressively - a hot air balloon.”

“Rose Revitt’s set is both real and hyperreal – a fitting combination for a salt-of-the-earth comedy that has dead young lovers roaming among the still living.”

“Designer Rose Revitt strews the Bridge stage with safes, coffers and cash boxes that double as desks, beds and gravestones. The ceiling is hung with chains that evoke the purgatorial bondage of Scrooge’s ghostly partner, Marley, but which become at a trice boughs laden with berries or strings of fairylights.

.... Scenes of revelry at the Fezziwigs give way to the fairly terrifying appearance of the Ghost of Christmas Yet to Come, and the grotesque child puppets of Want and Ignorance.”

“A puppet becomes a thoroughly convincing Tiny Tim .... The illuminated chains hanging about the stage exude a ghostly menace, yet, seen in a different light, they could just as easily be festive paper chains”

“The Stage Debut award-winning designer Rose Revitt has created a versatile set of trunks, lockboxes and safes, canopied by chains that sway and rattle ominously where appropriate, but are also capable of lighting up like strings of Christmas lights.”

“One of the productions smartest achievements is to feel both modern and Victorian at the same time using costume, props and video projection to honour the circumstances of the original story while still keeping more than a foot in contemporary style, a feat designer Rose Revitt achieves with a subtle brilliance that so absorbed in the story the audience barely registers.”

“The atmosphere is perfected by award-winning production design from Rose Revitt. Taking the moody Bramall Rock Void’s red brick walls as her inspiration, the set offers a depth that bleeds into the auditorium and pulls its audience into the past. It’s a remarkably evocative piece of work and showcases the potential of the new theatre space brilliantly.”

“The life of the Warsaw ghetto plays out amid the rubble of Rose Revitt’s haunting design, which makes it look as though a bomb has ripped through the brick walls of the Bramall Rock Void studio. There’s a powerful sense of the wreckage of history, in which tiny shards of hope – a child’s teddy bear, the blossoms of a plant – can just about be glimpsed.”

“The first thing we see as we enter is a heap of bricks and an old man, bent over, picking them up one by one and throwing them back on to a pile that straddles the border between stage and auditorium. We walk on by, take our seats. The stage is bordered by jagged, broken brick walls retreating into shadows. The man is moving the bricks so as to sweep a small central area in which stand, forlornly, a few items of worn wooden furniture: a bureau, a hatstand, a table (Rose Revitt’s design). A small group of doll-size mannequins is arranged on the table top, as if walking across it. The whole adds up to a quietly powerful introduction to the play we are about to see, and an implicit challenge to us, the audience: will we engage, or will we metaphorically continue to walk on by?”

“Rose Revitt’s deceptively simple pastel-coloured set that’s part school corridor and part bureacrat’s hallucination, with its multiple drawers, doors and hatches.

This is kids’ theatre at its absolute best. It’s dynamic, smart, instructive but never preachy, full of heart and mischief.”

“Tradition and progress are constantly grinding against each other on Rose Revitt’s compact but evocative set.”

“Directed by Roxana Silbert with a very smart design by Rose Revitt, merging a plain cottage backdrop with beautiful wallpaper that speaks to the content of the songs as well as charmingly sanitised city-based perceptions of the countryside”

“Rose Revitt’s folksy designs of rainbow bunting and an enchanted forest made of ribbon and paper are as pretty as a maypole. The costumes dressing-up-box Elizabethan; Bottom spots a ruff the size of a cartwheel”

“Hilda [the reviewer’s 8-year-old daughter] likes Rose Revitt’s designs (especially the forest of the second half) and is intrigued by the use of trapdoors. ”

“Rose Revitt’s ingenious, in-the-round staging, which conceals props and – most strikingly – opens up to reveal a mermaid lagoon in the form of an illuminated ball pit and seamlessly coordinated flying sequences achieved via hanging silks and swinging ropes.”

“Economy of means becomes an asset in a show with playfulness at its heart. To turn a wooden spoon into a razor-sharp weapon, you only have to believe – just as belief keeps Tinkerbell alive. Designer Rose Revitt allows similar creative freedom with her bare-bones set, although she also surprises us with a concealed ball-pool that bubbles like the sea.”