The Way Out

Written by Josephine Collins  /  Directed by Penny Harpham  /   Red Stitch Actors' Theatre, Melbourne  /  Set & Costume Design

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'The small space has been particularly well realised by set and costume designer Charlotte Lane, and brilliantly lit by Claire Springett. The pub is a rusty, crumbling marvel, clinging to the edges of its environment like an endangered barnacle. It gives the play an authenticity and texture that helps sell the rather wacky conceit. The technology, from Fyfe’s ingenious wrist device to the secret passageway in the wall, is thoroughly convincing.'  Time Out

'The set (Charlotte Lane) is all corrugated iron, a run-down building in a dusty town, with overtones of seemingly futuristic gadgets, and gas masks hanging at the door – for going outside. It works. Lane is also responsible for the costumes: western crossed with another world. The government inspector has a prosthetic forearm that knows all and feeds back to those in power. The lighting (Claire Springett) adds to the sense of the surreal with flashing hazard lights beyond the windows.'  Stage Noise

'A set reminiscent of the movie Mad Max is a work of grand design... Redolent with dusty shades of brown, it’s totally at one with the worn-out, downtrodden characters at the centre of the piece.' The Blurb

'Bringing the dystopian future into a visual reality, the work of set designer Charlotte Lane, here transforming the intimate Red Stitch Theatre into a ramshackle pub a location and set not dissimilar to scenes from Fury Road. Lit beautifully, and with elements of the set extending further than the stage itself, this production easily traverses the fourth wall.' Tagg

'Charlotte Lane’s realistic set design conjures a dank, dingy bar with grimy, glass doors that look out on a perilously smoky and impenetrable world.'  Herald Sun

'...darkly atmospheric production...'  Sydney Morning Herald


Photography by Teresa Noble and Charlotte Lane