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'Emma Bailey's simple but suggestive and memorably minimalist set...Tantalisingly edgy…a stinging piece of entertainment.' 

The Times


'Emma Bailey’s high-concept multicolour set is another highlight. [She] incorporates slapstick into the set itself: in a moment straight out of a Terry Gilliam animation, a six-foot-tall fist on wheels barged out of the wings to knock Jess over mid-joke. In its innovative staging, Double Double Act is a triumph.'

The Culture Whisper

 'Designer Emma Bailey's set has plenty of fizz.' What's On Stage


'By far and away the star here is actually Emma Bailey’s set, which, without the aid of electronics, slides from Manhattan modesty to suburban chic with invention and ingenuity.' 

The Stage


'The fluffy pink rug, rainbow streamers and overflow of flowers suggest artifice and pretence...It is one of many clever methods used to comment on the separation between our virtual and real selves. Every aspect, from the set design (Emma Bailey) to the contents of the monologue itself, feels essential to Latowicki’s exploration of this idea...There’s so much more that I could say about this extraordinary show, but I just don’t have the words. Sorry. I guess you’ll just have to go and see it instead.'

Spy in the Stalls

'Emma Bailey's set is lots of fun to look at with all its colour. And her exciting, creative eye is also represented in Latowicki's disgustingly beautiful, shiny green dress. It's tacky, in all the best ways.'

Broadway World


'Bond and his designer Emma Bailey have come up with a very simple image, showered with colour, that is gorgeous and works splendidly. I guessed at what might happen from what I saw when first taking my seat—and was right, but never envisaged just how extravagantly beautiful it was going to be.' British Theatre Guide


Joshua Pharo’s lighting design and Emma Bailey’s design were truly magnificent'.

The Spy in the Stalls 


'The transition from Court to the Forest of Arden, with white paper hailing down upon the heads of our saddened voyagers, accompanied by the sweet sinews of Jude Obermuller’s original score, is a moment of such breath taking beauty that all that proceeds is forgotten and I, in effect, start again. I longed for theatrical magic and happily found myself in Narnia.'

Post Script Journal


'Designer Emma Bailey’s innovative setting provides an appropriately secluded platform to those on the fringe of society; those that have been squashed underground and pushed away from the gaze of humanity. Each corner of the dark car park houses a different setting, convincingly transformed into bedrooms strewn with week-old pizza boxes and unappetising stains; a run-down park littered with mud, leaves and a beaten-up car; a yard ravaged by callous youths carpeted with popped balloons...The strands of the fragmented set unite to create a feeling of the bitter, of the real, of the personal.' -

A Younger Theatre


'Emma Bailey’s striking designs place us in a world that resembles the Paris of 1968 with a touch of steampunk...The kids are taking over the theatre company Shakespeare at the Tobacco Factory. '

The Guardian


Emma Bailey 

Set and Costume Designer

Emma is an award winning set and costume designer based in London. Having started her career in architecture she uses her spatial and draughting skills to explore her fascination with 3D and 2D design and performance. Her work comprises many elements of design including fashion, illustration and sculptural installation.

In 2011 Emma was awarded the prestigious Linbury Prize for Stage Design with her production Roy Orbison in Clingfilm at the Royal Opera House. Emma has also been a JMK finalist 3 times and once as runner-up in 2014 with director Kim Pearce. In 2020, she has been awarded the Maria Bjornson Fellowship Prize from the Royal College of Music.

Emma has designed for a range of venues,  including Royal Opera House, Royal Shakespeare Company (RSC), Young Vic and Pyramid Stage Glastonbury. Emma designed the sets for 6 The Musical -  which is running in London's West End and is touring the globe to critical and audience acclaim and is on Broadway at the Brooks Atkinson Theatre.

Recent productions include Little Wimmin for Bristol Old Vic, Pleasure Seekers for Soho Theatre and upcoming projects include A Very Expensive Poison for the Burg Theatre, Vienna and Oliver Cromwell is Really Very Sorry for Xnthony Productions in Ireland.

As well as designing Emma has run theatre workshops with the National Theatre, RSC, the Tricycle and Young Vic. Emma is also part of Store, a London-based association of artists, architects and designers, who promotes an educational programme of art and architecture courses, wide-ranging public events and exhibitions, and a socially engaged design practice. Their work can be found here

Emma's work in dance includes designing for Company Chameleon and the McNicol Ballet Collective and in 2020/21 she designed for The Dan Daw Show at Sadler's Wells and Ionesco's The Bald Soprano - Die kahle Sangerin, for Ad Absurdum by choreographer Andrey Kaydanovskiy for the Ballett am Rhein Dusseldorf Duisberg in Germany. In 2023, she has been design consultant for a new production by Jaivant Patel Company.


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