THE NIGHT WATCH by Sarah Waters
Adapted by Hattie Naylor
The Royal Exchange Manchester
Director Rebecca Gatward
Lighting Elliot Griggs
Composition/Sound Design Dan Jones
Movement Sian Williams

Photos Richard Davenport

**** “The set design, by Georgia Lowe, cleverly underscores the narrative technique.
The stage is on a revolve, with the inner part moving clockwise and the outer anticlockwise. 
It works ingeniously on several levels. It conveys the passage of time set back-to-front.
It allows emotional distance to open up between unmoving characters.” Paul Valley, The Independent

**** “A creative pulling together of Hattie Naylor’s fine, character-driven adaptation, the fluidity of
Rebecca Gatward’s direction and Georgia Lowe’s ingenious design – a slowly revolving circular
platform constantly edging everyone back to the origins of their unsettled futures – keeps faithful
to the rewind motion of the book, paring it down while still unlocking its melancholic mood
and emotional intensity.” Roger Foss, The Stage

**** “The continually revolving grey platter of Georgia Lowe’s design, meanwhile, evokes time unfolding in reverse
and suggests that the characters are all condemned to their personal circles of hell.” Alfred Hickling, The Guardian

**** “This is the first time Waters’ work has been translated to stage, and it has
been realised beautifully.” Daisy Jackson, Manchester Evening News

**** “Georgi Lowe’s evocative stage design cleverly makes use of the Exchange’s small, intimate space.
Two circular discs constantly rotate throughout the performance with the stark and innovative
set cleverly taking us from scenes set in a quiet dating agency, to a bombed out church and a prison cell.
As time turns backwards, so does the set, reversing like a clock, moving time from a dazed
and shattered post-war Britain back into the heart of the Blitz.” Donna Kelly, Frankly My Dear…

**** "...a pitch-perfect production...Georgia Lowe's slowly revolving design makes a virtue of being in the round.
The stage is bare, dark, with a metal grid embedded in the floor. Perfect for the prison in which the action
is partly set, suitable for scuffling through town in the blackout. The palette is absolutely right.
Subdued blues and greys. And occasionally a splash of red. Racy, high-buttoned red trousers.
A smart check duster coat. Blood." Susannah Clapp, The Observer