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Miriam Dheva-Aksorn
Miriam Dheva-Aksorn is a set and costume designer, recently graduated from the Royal Academy of Dramatic Art (RADA) with First Class Honours. Her design credits include Picnic at Hanging Rock, Gundog, Journey’s End, and most recently The Apparatus at Rose Bruford Theatre. Prior to RADA, she worked across several design and production projects in Thailand, where she was born and raised, and she now continues to develop her practice in the UK.
She designs with a focus on structure and practicality, shaping environments that not only serve the play but also speak the right aesthetic language. Her approach centres on creating spaces that enable directors, actors and creative teams to explore freely, encouraging collaboration while ensuring the designs remain both imaginative and achievable.
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Journey’s End
by R.C. Sheriff
GBS Theatre, Royal Academy of Dramatic Art
2025
• Director: Gari Jones
• Set and Costume Designer: Miriam Dheva-Aksorn
• Lighting Designer: James White
• Sound Designer: Deanna H. Choi
During the final months of World War I, a group of soldiers led by Captain Stanhope live in the claustrophobic confines of a dug-out in northern France. On the brink of a breakdown and with whiskey his only solace, Stanhope is forced to see himself through the eyes of a new arrival - a young and naive officer who was known to Stanhope at school. A hard-hitting play is inspired by the author’s own wartime experiences in the trenches. It explores fear, brotherhood, exhaustion, and the emotional strain of waiting for the inevitable attack. It focuses on how human relationships hold together—or fall apart—under the weight of intense pressure.
Picnic At Hanging Rock
by Tom Wright after Joan Lindsay
Gielgud Theatre, Royal Academy of
Dramatic Art
2024
• Director: Joshua Roche
• Set and Costume Designer: Miriam Dheva-Aksorn
• Lighting Designer: Dominika Kosieradzka
• Sound Designer: Marco Curcio
A journey into timeless, unusual and ancient places, as a group of schoolgirls disappear in the Australian wilderness during a Valentine’s Day trip to a mysterious rock formation. The narrative blends reality with the uncanny, exploring the tension between innocence, repression, and the wildness of nature. An immersive reckoning between colonial civilisation and the ancient Australia it tried to ignore.
The design proposal aims to create a feeling of suspension — a subtle tension that hints that something unsettling or uncanny is about to happen. The space is shaped around the idea of a monolith, a presence that is both mysterious and foreboding. Beneath the elegance and beauty of the world lies an underlying message of danger and transformation. The staging is promenade: both audience and actors are invited to move through the environment, sit within it, or stand beside the structures, becoming physically and emotionally immersed in the landscape.
Gundog
by Simon Longman
GBS Theatre, Royal Academy of Dramatic Art
2025
• Director: Joan Oliver
• Set and Costume Designer: Miriam Dheva-Aksorn
• Lighting Designer: Mila Mussatt
• Sound Designer: Marco Curcio
On a farm in the middle of nowhere, sisters Becky and Anna try to hold their family together, haunted by loss, poverty, and generational hardship. When they discover a stranger wandering aimlessly across the land, the three establish an unlikely partnership in their determination to survive.
The play weaves together memory and present time, showing how isolation, responsibility, and trauma shape the characters’ lives. It captures the starkness of rural survival and the tenderness buried beneath it.
The design aims to create a space that feels as though it sits in the middle of nowhere—an open, endless landscape where time seems to pass and yet nothing changes. The atmosphere is suspended between stillness and slow decay, echoing the emotional stasis of the characters’ lives. The environment resembles a working farmland, stripped back and weathered by years of labour and loss. Costumes are realistic to the lives of a shepherding family, worn with use, showing dirt, fraying fabric, and the practical textures of rural survival. References in the play to sheep giving birth, the ewe, and the family dog are presented with grounded realism, grounding the world firmly in its harsh agricultural reality.
















