Hannah Wolfe

Buxton International Festival 2024

Director and projection designer - Jack Furness

Set and Costume designer - Hannah Wolfe

Lighting design - Jake Wiltshire

LAMDA Sainsbury Rep

Directed by Gemma Brokis

Set and Costume Design by Hannah Wolfe

Lighting Design by Jahmiko Marshall

LAMDA Sainsbury Rep

Directed by Vic Sivalingham

Set and Costume Design by Hannah Wolfe

Lighting Design by Jahmiko Marshall

Copenhagen Opera Festival

Directed by Jack Furness

Costume and prop design by Hannah Wolfe

Lighting by Charlie Morgan Jones

Theatre By The Lake 2019

Directed by Gemma Fairlie

Set and Costume Design by Hannah Wolfe

Lighting Design by Ben Pickersgill

Puppetry by Matt Hutchinson

National Youth Theatre 2019

Southwark Playhouse

Directed by Emily Gray

Set and Costume Design by Hannah Wolfe

Lighting Design by Clare O’Donoghue

“Hannah Wolfe’s set is a stylised vision of dystopia with its desolate landscape of blinking lights and scaffolding” - The Guardian

Costume Design Finalist in the Off West End Awards 2020

National Youth Theatre 2019

Soho Theatre

Directed by Mumba Dodwell

Set and Costume Design by Hannah Wolfe

Lighting Design by Clare O’Donoghue

“Hannah Wolfe’s set consists of a thrusting catwalk of course black cinders and glittery fragments of powdered glass, bookended with heavy damask drapes, the clashing textures suggesting the dissimilar worlds Pip finds himself pulled between” - The Stage

“resonates with vibrancy and dynamism” - Whats On Stage

Pitlochry Festival Theatre 2018

Directed by Gemma Fairlie

Set and Costume Design by Hannah Wolfe

Lighting Design by Matthew Eagland

“The division between Dorothy’s real world and the fantasy of Oz is well-realised, with a simple, bleached-out background counteracting the riot of colour amid Hannah Wolfe’s outstanding set and costume design, from the baby blues of Munchkinland (the Munchkins themselves are played by a well-drilled young company), the bright racetrack swirl of the Yellow Brick Road, looping the stage and spinning off into the distance, and grizzled but kindly Wizard Crawford Logan’s Oz of green light and shimmering taffeta.” - The Stage

“Add some brilliantly effective design by Hannah Wolfe, reaching its high point in a spectacular glowing-green ensemble version of The Merry Old Land of Oz that has the audience roaring its approval, and you have a musical production of real West End quality, and with added Perthshire warmth and heart, that seems set to give the theatre in the hills a Christmas season to remember.” - The Scotsman

National Youth Theatre 2018

Soho Theatre

Written by Josh Azouz

Directed by Ned Bennet

Set and Costume Design by Hannah Wolfe

Lighting Design by Jess Bernberg

Royal College of Music 2017

Directed by Daniel Slater

Set Design by Alex Berry

Costume Design by Hannah Wolfe

Lighting design by Simon Mills

Salisbury Playhouse 2017

Directed by Jo Newman

Set and Costume Design by Hannah Wolfe

Lighting Design by Dave Marsh

The Other Palace 2017

Directed by Ian Talbot

Set and Costume Design by Hannah Wolfe

Lighting Design by Andrew Ellis

Arts Educational Schools 2017

Directed by John Brant

Set and Costume Design by Hannah Wolfe

Lighting Design by David Howe

The Egg Theatre, Bath 2016

Directed by Greg Banks

Set and Costume Design by Hannah Wolfe

Lighting Design by Ziggy Jacobs

"...Hannah Wolfes enticing adventure playground-style design..." - Lyn Gardner, The Guardian.

Bloomsbury Theatre, London 2015

Directed by Jack Furness

Set and Costume Design by Hannah Wolfe

Lighting design by Joshua Pharo

'Excellent designs by Hannah Wolfe, showing the debris of civilisation' - Mark Ronan.com

Bristol Old Vic Studio 2014

Directed By Stephanie Kempson

Set and Costume Design by Hannah Wolfe

Lighting Design by Tim Streader

"Director Stephanie Kempson provides confident, assured direction from a graphic novel that must have been tricky to adapt for the stage. Hannah Wolfe's design is equally solid and inspired, often incorporating neat visual flourishes and ingenious use of light, shadow and silhouettes, and the hinted-at land of There is left tantalizingly peripheral and ambiguous." - 365 bristol