English Touring Opera, Britten Theatre, London & UK Tour oct 2013
Composer, Cavali / Conductor, Joseph McHardy / Director, Ted Huffman / Lighting, Ace McCarron

Credit list photographer:
Photographs nr 1, 3, 4, 5, 6, 7, 9, 10, 12  Robert Workman
Photographs nr 2, 8, 11, 13, 14, 15, 16, 17, 18, 19, 20  Richard Hubert Smith



★★★★“, “Samal Blak’s post-modern designs mix old and new with freshness and contemporary relevance.”
— Birmingham Post, David Hart

★★★★“, ” Director Ted Huffman sees it as pervaded by a very modern cynicism and, with Samal Blak’s effective designs, his production keeps a balance between narrowly-skirted tragedy and broad comedy.”
—, Michael Church

“★★★★“, ” Ted Huffman`s straightforward production, designed by Samal Blak, plays itself out in a series of similar, white-panelled rooms that contrast chic Colchis with decrepit Lemnos. The costumes cleverly link art nouveau with 1980s new romantic.”
— The Guardian, Tim Ashley

★★★★”, Samal Blak’s attractive designs mix periods unobtrusively.”
— The Telegraph, Rupert Christiansen

—, Anne Morley Priestman

“Samal Blak’s elegant, unimposing set designs lend the production an air of unforced simplicity. The white-washed walls and grand staircase of the wedding scene, used throughout act one, provide an effective contrast with the gloomy wilderness of Lemnos in acts two and three. Moreover, in the absence of a specific historical context imposed upon the production as a whole, magic tricks and special effects such as flaming books and water changing colour ingeniously captured something of the ‘carnival’ experience seventeenth-century audiences would have been treated to.”
—, Hannah Templeton

“Director Ted Huffman places us in an uncomplicated no-time, no-place, framed with elegant simplicity by Samal Blak’s sets – a faintly Baltic blend of Gustavian style and gentle off-whites.”
—, Alexandra Coghlan

“Samal Blak’s set designs cleverly morphed from the stately interior of Medea’s Colchis to the collapsing and tree-invaded kingdom of the abandoned Isiphile’s Lemnos.”
— Bachtrack, Jaime Robles

“…the conversion of Samal Blak’s set for the first act into that for the second proves both economical and dramatically effective. The decay of Lemnos during the absence of the ‘hero’ and the waiting of his wife is instantly, powerfully conveyed.”
— Mark Berry

“Samal Blak’s designs made an important contribution. His costumes immediately signalled who each character was, clearly distinguishing the comic from the serious.  It can be hard to create a single set that does the business all the way through, but his versatile Scandinavian-style palace was imposing yet unobtrusive.”
— Intermezzo