Sam Holcroft's new play inspired by Chekhov's 'Uncle Vanya'. Premiered at The Gate, Notting Hill in September 09. Directed by Natalie Abrahami. All photos courtesy of Simon Kane

‘…the play offers a fascinating commentary on Chekhov. Tom Scutt's design, which is basically a revolving wooden hut, also cleverly evokes the characters' sense of enclosure while creating striking picture-frame images.’ – The Guardian

'…on a remarkable setting by Tom Scutt that resembles a huge revolving packing case. Sonya is dismantling the panels and timber as the play begins, reassembling them as it ends on her plea for carrying on despite everything.' – What’s On Stage ****

‘Best is Tom Scutt’s ingenious design: a set that initially looks like a giant packing case is switched by the actors into a pleasing array of guises.’ – Evening Standard

‘Natalie Abrahami’s finely acted production, ingeniously designed by Tom Scutt, encases the tormented quartet of central characters from Uncle Vanya in a room-sized, rotating packing crate tellingly marked FRAGILE.’ – The Times

‘…we find Sonya and her eponymous, manic-depressive uncle living in something like a shed-sized packing crate. "Fragile" is stamped on its outer walls … This slow-revolving shack, crammed on the Gate's tiny stage by designer Tom Scutt, is peculiarly inspired. It's claustrophobic; surprisingly beautiful in soft blue moonlight; and compelling, with panels hinging back so we watch thwarted ardent encounters through doorways and unexpected windows.’        - The Independent

 ‘…designer Tom Scutt's nifty wooden cube of a set is a bit like a bathing house might be if four arty types tried to build it eight different ways from an Ikea flatplan. The actors rejig the set as they go - a neatly directed bit of business, which helps frame them individually when they monologue about their worn-out dreams…This is a touching emotional drama…But it's a shame that the whole concept isn't as original as the design.’ – Time Out

‘Tom Scutt’s striking set, which resembles a giant packing crate, amplifies the play’s sense of entrapment and claustrophobia. As this wooden box revolves, panels are dismantled or folded back to frame the action in different ways, their visual variety skilfully exploited by Abrahami’s direction.’ – The Stage

‘On a design note, Tom Scutt's idea of the revolving, unfolding box for a stage is genius, making the small space by turns claustrophobic when it needs to be, then spacious as it magically unravels and changes from one scene to the next.’ – Spoonfed

 ‘…a fascinating new light on Anton Chekhov’s play….Holcroft, with director Natalie Ibrahami, designer Tom Scutt and the four-strong cast capture Chekhov’s world through opposites, with everything integrating so tightly it’s hard attributing success between writing, production and acting.’ - ReviewsGate

‘It has to be said that Tom Scutt has created the most adaptable of structures, which revolves and, as it does so, changes its nature to fit the creative team's vision.’ – British Theatre Guide

‘Tom Scutt’s thoughtful design deserves a special mention. He encloses the cast into a revolving tea crate with “fragile” printed on it... the metaphor works incredibly well – the gentle light brown tones lending a particular fragility to the setting – and at the same time provides for an elegant solution to the numerous scene changes.’ – MusicOMH