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Willoughby Brow
Willoughby Brow grew up and studied in London, which gave him access to a variety of arts and culture. He credits being able to see such a diverse range of media and exhibitions as the inspiration for his polymathic approach to design. He started his studio practice when he was 15 years old and went on to attain a BA in Theatre and Performance Design from Wimbledon College of Arts. His working practice is fuelled by investigation: since he was a small boy, Willoughby has acquired an array of interests and skills which over time have allowed him to build a creative toolkit from which to source a bespoke approach to each project he encounters. He is preoccupied with the question: ‘What’s the best way of doing this?’ and compelled to understand how the great animators worked, how monumental sculptors trained, or even what heroic painters ate for breakfast. Working in theatre allows Willoughby to use lateral and logical thinking, and he believes that it is important as a designer to balance academic rigour with creative impulse - automatism with constraints.
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Parade
by Jean Cocteau
Speculative costume design
• Music: Erik Satie
• Costume Designer: Willoughby Brow
The costume designs are based on Pablo Picasso’s collaboration with the Ballet Russes and Sergei Diaghilev. The characters are part of a surreal travelling performance troupe. The designs were inspired by Bruce Davidson’s Circus series (1958). They reflect the duality of the circus during that era; the opulence and the poverty, the joy and the destitution.
Metamorphosis
by Lemn Sissay after Franz Kafka
Speculative design
This adaptation of Franz Kafka’s Metamorphosis explores the cycles and traumas that turn a person into a monster. Things take a dark turn when Gregor, a failing salesman, can no longer support his dependant family.
In this staging, Gregor is reframed as a fisherman that lives in an endless desert, to support the impossibility of his situation. He is trapped; sometimes an endless void can be just as claustrophobic as a cell. The proscenium arch is fitted with a changing aperture, allowing the frame to slowly constrict and expand throughout the performance.
The Rear Window
by Emily Dix after Cornell Woolrich and Alfred Hitchcock
Speculative design for The Bridge Theatre as part of final year project at Wimbledon College of Arts, UAL
Jeff is a war-photographer with a broken leg and a commitment problem. Lena, the woman he loves slowly slips away from him as he gets wrapped up in a murder mystery that unfolds right outside his window.
The set-design was inspired by 1950’s New York, conspiracy theory pin boards, MC Escher, and film noir. As Jeff’s paranoia mounts, the lighting conditions become more extreme. Lena stands at a balcony reminiscent of a ship leaving port.
Friendsgiving / The Mending Circle
by Shona Graham and Chloe Yates
A double bill at the Lyric Studio
2025
Is there really more that unites us than divides us?
A group of childhood friends meet for a strained Friendsgiving dinner and whispers become legitimate concern when one member starts voicing worrying opinions.
A community clothes mending circle is locked in by a terrible storm, their safe space under threat by a stranger who arrives with very differing views to their own.






















