WORK










INFORMATION

Emma Rose White
emmawhitedesign@gmail.com
@_emmarosewhite

Upcoming projects


THE ORESTEIA
Bridge Theatre, London
Costume Design
Dir. Simon Stone

BENNELONG IN LONDON
Sydney Theatre Company
Set and Costume Design
Dir. Ian Michael

theatre
DAS FERIENHAUS
Burgtheater, Vienna
Co-Costume Design
Dir. Simon Stone

MARRIAGE OF FIGAROOpéra national du Rhin
Associate Costume Design
Dir. Mathilda du Tillieul McNicol

TALENTED MR RIPLEY
Sydney Theatre Company 
Costume Design
Dir. Sarah Goodes

OIL
Sydney Theatre Company
Set Design
Dir. Paige Rattray

SISTRENGriffin Theatre Company
Set and Costume Design
Dir. Ian Michael
BIG GIRLS DON’T CRY
Belvoir St Theatre
Costume Design
Dir. Ian Michael

LIFESPAN OF A FACT
Sydney Theatre Company
Costume Design
Dir. Paige Rattray

MOMENTA
Sydney Dance Company
Associate Costume Design
Chore. Rafael Bonachela

AS YOU LIKE IT
Queensland Theatre Company
Set and Costume Design
Dir. Damien Ryan
FLAT EARTHERS
Griffin Theatre Company
Costume Design
Dir. Declan Greene
GREEN PARK
Griffin Theatre Company
Set and Costume Design
Dir. Declan Greene
4000 MILES
Sydney Theatre Company
Associate Designer
Dir. Kenneth Morrellada
RBG
Sydney Theatre Company
Associate Designer
Dir. Priscillq Jackman

ON THE BEACH
Sydney Theatre Company
Associate Costume Designer
Dir. Kip Williams

STREETCAR NAMED DESIRE
Red Line Production
Set Designer
Dir. Alex Berlage

BURN WITCH BURN
Fervour Theatre
Set Designer
Dir. Claudia Osborne

SEVEN DEADLY SINS
Red Line Productions
Costume Designer
Dir. Con Costi

Editorial
BURBERRY
Set Designer
AJE
Set Designer
NIKE
Set Designer
CAMILLA
Set Designer

Commercial
WESTFIELD
Art Director
MCDONALDS
Art Director
TOOHEYS
Art Director
NSW COERCIVE
CONTROL CAMPAIGN
Art Director
A LEAGUE
Art Director
SMEG
Art Director
KOALA
Art Director
JAYCAR
Art Director
ALDI
Costume Design



full cv on request






press

THE GUARDIAN on Oil
‘‘Oil is a complex play to stage, but brilliantly managed by the director, Paige Rattray, and the set designer, Emma White. Each period feels vital and fully realised, from the dank interior of the Singers’ cottage to the lavish feasts hosted by the British military in Tehran a gleaming 1970s kitchen, burning tyres in Baghdad and finally a freezing lounge room in 2051.But the most arresting visual choice is perhaps the simplest. Throughout the play, the stage is covered in thick black sand that wears the marks of characters as they move through the space. Everyone, regardless of who they are and what they believe in, leaves an impression on the earth that outlasts them – and bearing witness to those marks being made, the audience becomes complicit too.’’



TIME OUT on Oil
‘‘A time-bending, continent-hopping, multi-layered sci-fi epic and mother-daughter drama, Oil transports (by magical stretch of the imagination) her two main characters from the Industrial Age in Europe when crude oil was discovered, to the oil-rich Middle East at the turn of the century, to nondescript suburbia, and into the future. In each time period, the scene is some manner of dining room, which rests upon a vast mound of blackened soot (Emma White does a brilliant set’’
THE GUARDIAN on Ripley
‘‘The cast is young – faithfully to Highsmith’s novel, where the key characters are mid-20s – beautiful and beautifully dressed (Emma White on costume); the design is swishy and dramatic’’

THE SCOOP on Ripley
‘‘Costume design by Emma White, particularly Dickie’s wardrobe, is stunning. It’s easy to see why Ripley becomes obsessed with Dickie’s life when it looks this elegant. There’s attention even to the fit; relaxed, silky ease for Dickie, the slightly taut, ill-fitted look of a borrowed suit for Ripley.’’

SYDNEY MORNING HERALD on Hand To God
‘‘Emma White’s set is a wonder-world of religious kitsch and nightmare visions, on which the performances of both actors and puppets withstand the closest scrutiny.’’


SUZY GO SEE on Streetcar
‘‘ Emma White’s set design provides cleverly imagined spatial demarcations, valuable to the physical and psychological dimensions of the play.’’

‘‘It’s a cosy girl-power sanctuary (from Emma White) – everything pink and fluffy, from the desktops to the back wall’’



SYDNEY MORNING HERALD on Streetcar
‘‘In the Old Fitz’s tight confines, we don’t sit dispassionately watching a play set in steamy, mid-20th-century New Orleans, we, like Blanche, actually share Stella and Stanley’s ramshackle apartment (designed by Emma White). We share the claustrophobia, we share the war zone, and we even share the heat’’






CONTACT

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