WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK

'Anna Fleischle’s set design consists of the skeleton of a home, white-greyish borders to show where walls and doors might be; two white kitchen units in the middle of the floor, joined together by a table and two seating units; a background of large, blue textured squares, which overlap to create dark rectangular shadows. The design subtly reinforces the idea that, for Jews, “home” is often a fraught concept. Fleischle’s house is like a show home, with not much personalisation and everything having its place.'  London Theatre

'... Marber keeps the chat tautly dramatic, filling Anna Fleischle’s elegant skeleton of a kitchen with the antagonistic cross-currents of things best left unsaid.' The Guardian

'... cleverly evoked by Anna Fleischle’s geometric set design...'  The Times

'These comedies of manners usually start with canapes and niceties, but on Anna Fleischle's status-conscious minimalist kitchen set, the tension opens at 7 and cranks up from there...' Ham & High

PUNCH

"Anna Fleischle’s atmospheric set features a soaring, asphalt-textured bridge, with sloping ramps in front of a painted backdrop of chalky, skeletal buildings. Hidden doors slam shut, blocking escape routes as Dunne’s options diminish." The Stage

"The spare set, designed by Anna Fleischle, gives unhampered space to the drama of light and sound: the blare of nightclub music as Jacob goes out partying, the glare of lights that bring horror and reckoning. Both fill the stage and seem to surround us, too." The Guardian

"... its walkways to nowhere grimly suggested by Anna Fleischle’s set." The Telegraph

"On a two-level set by Anna Fleischle that apes the concrete of the Meadows estate from which he springs, David Shields’s Dunne narrates his own story... " The Times