Islander (2019 - 2024)
Concieved by Amy Draper
Book by Stewart Melton
Music & Lyrics by Finn Anderson
Venue: Edinburgh (2019), London (2019), New York (2022), Plymouth, Seattle, Chicago, Phoenix, Olney (2023/24)
Company: Helen Milne Productions / Setasea LLC
Director: Amy Draper
Staging & Associate Direction (2023-24): Eve Nicol
Set Designer (2023-24): Emma Bailey
Costume Designer (2022-24): Hahnji Jang
Sound Designer (2022-24):: Sam Kusnetz
Associate Lighting Designer (Southwark): Robbie Butler
Associate Lighting Designer (US): Scott Monnin
Lighting Programmer (Roundabout & 2023-24): Tom Mulliner
Set Electrics (2023-24): James Gardner
Production Stage Manager (2019-2024): Jasmin Davies
Cast (2019-2022): Bethany Tennick & Kirsty Findlay
Cast (2023-2024): Lois Craig, Stephanie MacGaraidh, Julia Murray, Sylvie Stenson
Photos: Ali Wright (Southwark), Maria Baranova (New York), Steve Tanner (Plymouth), Nate Watters (Seattle)
My involvement in Islander began in summer 2019, with its Edinburgh Festival Fringe run in the Paines Plough Roundabout space at Summerhall. Following this the show transferred for a London season at Southwark Playhouse that autumn. The pandemic put a stop to any touring plans in 2020, but we filmed Islander - A Filmed Reimagining as part of the Dundee Rep Studios project in Spring 2021. Coming out of the pandemic, Islander was presented off-Broadway at Playhouse 46 in spring/summer of 2022.
A reconceived staging of the production, for end-on rather than in-the-round spaces, was created by Eve Nicol in autumn 2023, with Emma Bailey creating a new scenic design for the piece. Opening at Theatre Royal Plymouth, this then went on a six month US tour playing Seattle, Chicago, Phoenix and Olney.
Press Quotes
With just two actors, a near-bare stage and Simon Wilkinson’s subtle lighting design, a small but rich community is brought bustling into life
Miriam Gillinson, The Guardian (2019)
As the story develops, Simon Wilkinson’s lighting design uses the Roundabout’s glorious built-in rig to wash the island in dew, sea-mist and a pinch of magic.
Kate Wyver, Fest Magazine (2019)
The small, dark and intimate space of the Playhouse is bathed in a changing light, serving to further envelop the spectator in the story.
Grace Walsh, The Upcoming (2019)
The show is technically strong and aside from the wizardry of recording the sounds, the lighting design is subtle yet wondrous and creates a glorious effect throughout, especially during the storm scene and when a helicopter is flying overhead.
Neill Kovacic-Clarke, Pink Prince Theatre (2023)
the simple yet stunning set from Emma Bailey and eye-popping lighting from Simon Wilkinson.
Jay Irwin, Broadway World (2023)
“The playing space (scenic design by Emma Bailey) is a bare white curve that resembles part of an eggshell, not a wall or a prop or a curtain in sight. That minimalism helps throw the relationships and events unfolding on stage into stark, sharp relief, the images taking on cinematic clarity under Simon Wilkinson’s lighting design.“
Catey Sullivan, Chicago Sun-Times (2023)
Vividly told on a near-empty stage, enhanced by Simon Wilkinson’s lighting design.
Mark Ludman, British Theatre Guide (2019)
Simon Wilkinson’s beautiful lighting design, where small strobes of white light shine through an ocean of deep blue ones like sunshine coming through the clouds
Beth Blakemore, The Wee Review (2019)
With the aid of Simon Wilkinson’s lighting and Sam Kusnetz and Kevin Sweetser’s sound design, we are all seamlessly transported to the island […]
One of the best musicals in New York right now.
Tim Teeman, The Daily Beast (2022)
[A] multi-layered piece of theatrical storytelling, weaving beautiful music, lighting and visual effects
James Banyard, The PRSD (2023)
Wilkinson’s lighting is also starkly impressive.
the sound in tight sync with the lighting and the performers' movements transports the audience to an altered state
Christine Malcom, Talking Broadway (2023)
“Lighting design by Simon Wilkinson is brilliant, creating a host of looks that completely transform the setting and mood”
Jessie Bond, Chicago Splash Magazine (2023)
