The upcoming season at the Young Vic promises to be a fascinating mixture of unique adaptations and boundary-pushing new writing. Once again, we were excited to work with some of the artists behind these productions on a series of distinctive creative concepts.

Our aim for Samuel Beckett’s Happy Days was to give the play a new face, in this case, literally. During our photo shoot with star Juliet Stevenson, we concentrated on bringing the playful, eccentric elements of the production to the fore, moving away from the idea of Beckett as an inaccessible playwright. The result is a playful shot of Juliet Stevenson in character, complete with wry smile, that hints at Happy Day’s humour and wit.

A View from a Bridge is one of the most-loved and most-performed texts in the American canon. For this new interpretation from visionary director Ivan van Hove, we created artwork that acknowledged this status, while simultaneously reframing its focus. Often seen as a chamber piece, our artwork strongly focuses on protagonist Eddie Carbone and his psychological experiences. In addition, with its symbolism and intense colouring, the final design references iconic film imagery.

Working with Peter Brook is a dream come true! His pioneering work is legendary and he continues to surprise with his creative choices. His latest work, The Valley of Astonishment, is an almost undefinable piece that deals with the societal aspects of synaesthesia. As opposed to a scientific analysis, this production will explore how the condition alters perception for those who are affected by it. Using cubism as our inspiration – especially its way of transforming the everyday into new, surprising sensory experiences – our artwork celebrates this unique perspective.

Star of stage and screen Gillian Anderson brings her Blanche DuBois to the Young Vic this season and, to heighten anticipation, our artwork uses her portrait to communicate what will set this version of A Streetcar Named Desire apart from its predecessors. Looking over her shoulder, Anderson appears unadorned for the artwork’s stark, honest and direct photography, subverting her glamorous persona to reveal something more personal.

Finally, the last in the set is The Cherry Orchard, thanks to a new version by Katie Mitchell. Our artwork focuses on the faded grandeur that’s at the heart of the piece, as well as the hunt for stability in the face of destruction. Using a washed out photograph and autumn leaves, we wanted to communicate how the natural order of things can overpower fading memories, which is a central message to the play.

It’s going to be another outstanding season, with productions and performances that we can’t wait to see! Have a look at all of our creative below.


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