Alison Chitty is represented by Rayfield Allied worldwide.

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Alison Chitty


  • designer Alison Chitty has created a bullring-like lair for the Minotaur himself. The production is an outstanding achievement
    Andrew Clements, Guardian
  • Alison Chitty’s elegantly sparse designs
    Richard Morrison, The Times
  • realised in wonderful detail on Alison Chitty’s set
    Sarah Hemming, Financial Times
  • Alison Chitty trained at St Martin’s School of Art and Central School of Art and Design. She won an Arts Council bursary to the Victoria Theatre, where she became resident designer for seven years and designed over 40 productions. In 1979 she returned to London to work at the Hampstead Theatre, Riverside Studios, Royal Shakespeare Company and the West End. 

    She was resident designer at the National Theatre in London for 8 years where she regularly collaborated with Sir Peter Hall. Her productions there include Mike Leigh’s Grief and Two Thousand Years, Scenes from the Big Picture and The Voysey Inheritance, for which she won an Olivier Award. In 2010 they hosted a major retrospective of her work.

    Equally active in the field of opera, she has designed productions for the Royal Opera House Covent Garden, English National Opera, Opera Holland Park, Opera North, Chicago Lyric Opera, Houston Grand Opera, Staatsoper Berlin, Opera National de Paris, Staatsoper Munich, Teatro La Fenice Venice and in Dallas, Seattle, Santa Fe and Geneva. Recent productions include Harrison Birtwistle’s The Minotaur (available on Opus Arte) for ROH, Rigoletto for La Fenice and Betrothal in a Monastery in Toulouse.

    She was awarded an OBE in 2004, received the Young Vic Award in 2008, was made a Royal Designer for Industry in 2009 by the Royal Society of Arts and received an Honorary Fellowship from the University of the Arts London in 2013.

    • The Cure & The Corridor
      Aldeburgh Festival, Linbury Theatre (June 2015)

      Alison Chitty’s designs use colour and symbol to powerful effect.
      Richard Fairman, The Financial Times ****
      Martin Duncan’s production, with simply effective designs by Alison Chitty, is beautifully nuanced.
      Andrew Clements, The Guardian ****
      Alison Chitty’s designs with Paul Pyant’s lighting conferred intense dramatic power on key moments, most notable Padmore’s spooky transformation from Jason into his father.
      Michael Church, The Independent ***
      Alison Chitty’s abstract sets were genius throughout.
      Igor Toronyi-Lalic, The Spectator
    • Pirates of Penzance
      English National Opera (May 2015)

      The designer Alison Chitty [dresses] the chorus as impeccable Victorian maidens, ploddy policeman and picture-book pirates… The action is framed within circles and other abstract geometric shapes, with location suggested purely by colour and an array of beautifully drawn Cornish birds.
      Richard Morrison, The Times ****
      Visually, however, it’s a show that plays to the back of the house.
      Alexandra Coghlan, The Spectator
      Alison Chitty’s colourful costumes are immaculately late-Victorian and look marvellous.
      George Hall, The Stage *****
      The silliness of the plot is enhanced by the intense pigments of Alison Chitty’s simple but sophisticated designs, near abstract but with just enough suggestive detail.
      Fiona Maddocks, The Observer
      The trendily minimalist set designs by Alison Chitty suggest we are looking through an onshore telescope at the pirates’ ship.
      Richard Fairman, The Financial Times
      It is conventionally stages in 19th-century costume much as the D’Oyly Carte Opera Company would have envisioned – with the token modernism of a streamlined, semi-abstract set by Alison Chitty.
      Michael White, The New York Times
      Alison Chitty’s fluorescent designs for this production suggest the opening and closing of a camera shutter, and the ship which disgorges the pirates is bandbox-dainty.
      Michael Church, The Independent ****
    • Parsifal
      Royal Opera House (November 2013)

      The triumph of this new interpretation, directed by Stephen Langridge and designed by Alison Chitty, is that it de-sanctifies Parsifal : all trace of pseudo-sacred mumbo-jumbo is removed. What we get instead is a visual shorthand, contemporary but timeless, that illuminates the opera’s philosophical complexity while keeping the narrative both straightforward and continually mesmerising. Across a five-hour span, that is no mean feat...
      Andrew Clark, Financial Times *****
      Alison Chitty’s angular sets, lit by Paul Pyant, and the grey-suited knights evoke an alienating, militaristic society.
      Barry Millington, Evening Standard ****
    • Nabucco
      Royal Opera House

      Alessandro Carletti's lighting bathes Alison Chitty's austere set of grey plinths in the pale wash of dawn, the glare of noon, the softening of dusk and the long shadows of a moonlit night. Chitty's plinths display a wider dramatic range than the principals, channeling the Berlin Holocaust Memorial, tombs on the Mount of Olives, the tight alleys of the Lodz ghetto and the gas chambers.
      Anna Picard, The Independent
    • The Minotaur
      Royal Opera House - Revival

      Designer Alison Chitty’s sets had a rugged simplicity which sat perfectly with Birtwistle’s vision, creating a part-virtual bull-ring in which this subversively appealing creature could kill, dream, lament and finally be killed.
      Michael Church, The Independent
      Stephen Langridge’s production is stylish, playing out in the wan sunlight and oppressive darkness of Alison Chitty’s set.
      Erica Jeal, The Guardian *****
      Alison Chitty’s bullring-inspired designs stamp their indelible mark on Birtwistle’s mythical landscape, a place of fear and beauty.
      Fiona Maddocks, The Observer
    • A Provincial Life
      Sherman Cymru, Cardiff

      Yet in Alison Chitty's beautiful bare and open design the play moves with a marvellous freedom: scythers walk in rhythm across a field; families cluster miserably around a stove; the sense of small episodes in a massive space has rarely been so powerfully summoned.
      Susannah Clapp, The Observer
    • “Grief” by Mike Leigh - National Theatre
      (September 2011)

      The action is set in a suburb near London and follows its characters through several months in 1957-58. The period setting is meticulously caught in both Alison Chitty’s oppressively neat but cheerless suburban living room design, the Fifties clothes, and the flavour of the dialogue
      Daily Telegraph
    • The Minotaur
      Royal Opera House, Covent Garden

      "designer Alison Chitty has created a bullring-like lair for the Minotaur himself, around which a crowd adds its chanted commentary to the killings. The production is an outstanding achievement..."
      - Andrew Clements, Guardian
    • The Io Passion
      Aldeburgh Festival

      Over 90 minutes, the same small things happen again and again. Ingeniously and with not little menace, Alison Chitty’s set presents these two perspectives simultaneously, one on each side of the stage.
      Nick Kimberley, Evening Standard
  • Alison Chitty: Design Process 1970 - 2010

    Design Process 1970 - 2010
    • View a PDF of the brochure released to celebrate the National Theatre's 2010 exhibition dedicated to the work of Alison Chitty. The brochure includes drawings and photos from throughout her varied career, as well as articles written by Alison Chitty which give an insight into her design process.
  • Photos