Robert and Nerys
Cassie the Newsreader
Robert meets Callum the Rat
The Boy Who Kicked Pigs
The Kent Clarion Newspaper
Pedro the Hunk

THE BOY WHO KICKED PIGS (2014)

Writer: Kill the Beast

Performers: David Cumming, Natasha Hodgson, Ollie Jones, Zoe Roberts

Director: Clem Garritty

Lighting Designer: Elliot Griggs

Model Box Design: Clem Garritty & Bryan Woltjen

Costume Design: Nina Scott & Rachel Schofield Owen

Music: Ben Osborn

The wonderful characters themselves that are so incredibly visual in the book do truly come alive on stage, with costume and make up being such a crucial key and designed so brilliantly by Nina Scott and Rachel Owen. ***** Sound and Vision 

There is a highly stylised feel to the design, Nina Scott's costumes are muted in colour but with masses of detail and faces and hair are inhumanly pale. At times it looks as though a macabre cartoon has been brought to life. ***** What's on Stage 

Packed with ingenuity and visual brilliance, The design of the show is remarkable, a symphony in grey [...] This is inventive, visually stunning stuff, made with a love and awareness of what has gone before. ***** A Younger Theatre

The costume and set designers deserve credit. With each player having multiple characters to portray, the costume changes must be quick, and yet with only minimal changes in dress, the distinction between characters is immediate and undeniable. ***** Cult Box 

Nina Scott and Rachel Owen’s melancholic grey costumes and Bryan Woltjen’s kooky black and white projections really set the scene for this wickedly remarkable production **** Theatre Reviews Hub 

The company create a whole visual style that’s perhaps a little more Tim Burton than David Roberts (the illustrator of Baker’s book) within which Nina Scott’s amazing costumes and Brian Woltjen’s backdrops play a key part - The Reviews Hub 

Even more notable is how costume designer Nina Scott converted  David Robert's‘ illustrations into a visual piece.**** TV Bomb 

Yes, what I liked about the beautiful, monochrome look of the production was its displacement of time, that idea of the real world pulled, sometimes grotesquely, out of shape. I was blindsided by how distinctive the voice was, how great the visuals were and just how playful and dark the entire thing was **** Exeunt Magazine