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Audio Description
Emily Mahon
Emily Mahon is an artist and set designer from North West England. In 2025, she graduated from the Liverpool Institute for Performing Arts with a BA (Hons) in Theatre & Performance Design. Her work spans cross both stage and screen, and she is trained in fine art, illustration, scenic art and puppetry.
As a model maker, Emily loves using her craft to create tactile worlds that are rich in detail and texture. Finding quiet poetry in the small and unassuming, her work hopes to evoke curiosity and encourage audiences to look closer.
Website

Scroll through art works. Click to enlarge
Paradise
by Kae Tempest
Based on Philoctetes by Sophocles
Speculative design for Everyman Theatre, Liverpool
• Director: Nick Bagnall
• Set and Costume Designer: Emily Mahon
For this version of Sophocles’ Philoctetes , I wanted to interrogate the overarching theme of environmental injustice. Instead of a polluted island, this design places the
audience at the bottom of a vast storm drain. In this bleak, industrial landscape, the cave that Philoctetes inhabits is transformed into a drainpipe full of rushing black water. This setting seeks to confront our collective response to crises, our responsibilities and attitude toward waste, and unfair social hierarchies that determine who suffers first.
The science fiction aspect of this design is influenced by Robert Silverberg’s The Man in The Maze (1969), a version of Philoctetes which has a heavy focus on disability injustice and architectural barriers. Like in Silverberg’s maze, Philoctetes’ isolation is emphasised through the precarious scaffolding and steep metal ledge, central to the design. By making himself intentionally difficult to access, he has created emotional distance and a looming sense of danger. Despite this, the platform itself should be easily accessible to performers from backstage.
Paradise Rot
Based on the novel by Jenny Hval, translated by Marjam Idriss
Speculative Production Design for Film
Designer: Emily Mahon
In the novel, the old brewery that Jo moves into acts as a catalyst for all the dark and surreal moments she experiences. I love the transformation that the house goes through, the way it grows and decays, and almost becomes a character in its own right. It’s fascinating how important the geography of the house is to the script, how the layout drives some of the most intimate moments and seems to push and pull these two characters against each other. This uncanny space translates perfectly into the visual language of stop-motion.
As I was reading, I felt like I could hear her musical sensibility, I felt as though each action, each conversation had a rhythm to it. I began to imagine the book as either a film steeped sound design, or a visually surreal music video.
The Gift
By Janice Okoh
George Harrison Workshop Studio, Liverpool Institute for
Performing Arts
2024
• Director: Anthea Lewis
• Co-Set Designers : Emily Mahon & Jessica Arthur Keenan
• Costume Designer: Caitlin Thompson
• Assistant Set Designer: Lucy O’Connor
• Assistant Costume Designer: Kelsey Regola
• Lighting Designer: Ewan Anderson
Both 'The Gift' and 'The Tenant of Wildfell Hall' were designed as part of the Liverpool Institute for Performing Arts’ Children of the Revolution rep season. Performed back-to-back in the George
Harrison Workshop Studio, both plays required a dynamic and adaptable shared set.
The Tenant of Wildfell Hall
by Deborah McAndrew, based on the novel by Anne Brontë
George Harrison Workshop Studio, Liverpool Institute for
Performing Arts
2024
Both The Tenant of Wildfell Hall and The Gift were designed as part of the Liverpool Institute for Performing Arts’ Children of the Revolution rep season. Performed back-to-back in the George
Harrison Workshop Studio, both plays required a dynamic and adaptable shared set.

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