“The set is simple, but highly effective. A mirrored frame invites the audience to think about the broader reaches of ‘internet uploads’… everyone in the audience could access an intimate moment from a family home and become a spectator, with their own sets of opinions and prejudices. The interior of the space is clean white, with just two chairs, two benches, stairs, books, flowers and phone. The main set is all plain white the parameters of iPhone, very clinical but ‘every house’ like. Set designer Anna Reid provides a clever versatile space for the Fritz’s words to resonate and affect the audience”

AMANDA HODGSON for NORTH WEST END on FOUR MINUTES TWELVE SECONDS

“Designer Anna Reid creates a striking Instagram-worthy home for Di and David – clean lines, cream walls, white floor, and all brightly lit. A few colourful markers of domestic life catch the eye within the almost clinical surroundings – a vase of cheerful flowers on the table, red wellies and a green umbrella by the back door. As revelations spill out, those warm flashes of colour vanish, the light gets dimmer and shadows gather.”

CIRCLE AND STALLS on FOUR MINUTES TWELVE SECONDS

“a delightfully non-realist staging from director Lily McLeish and designer Anna Reid”

Arifa Akba, THE GUARDIAN on SCROUNGER

 “Anna Read’s strikingly surreal set”

Kieth McKenna, BRITISH THEATRE GUIDE on SCROUNGER

“There is an elegance to Anna Reid’s simple design”

Chris Bennion, THE TIMES on CASH COW

“Anna Reid’s spare, white line-bordered playing space nods to a tennis court, and also begins to feel like an inescapable cell”

Marianka Swain, THE ARTS DESK on CASH COW

“exemplary, innovative costume and set design”

Emma Robinson, A YOUNGER THEATRE on A MIDSUMMER NIGHT’S DREAM

“Anna Reid proves herself again with a gorgeous set design, which turns the downstairs auditorium into a bona fide heaven.”

Cindy Marcolina, BROADWAY WORLD on PARADISE

“Anna Reid's lovely set springs a delightful surprise in the very last moments”

Alun Hood, WHATS ON STAGE on PARADISE

“Anna Reid’s walled-garden patio set is a bucolic success”
Anne Treneman, THE TIMES on PARADISE

“Anna Reid’s design is a hilariously, enticingly tacky hotel bedroom which looks like it was pulled straight from the Love Island set – all sunset blues and oranges, beautiful for a moment and then increasingly sickly and claustrophobic.”

Ava Wong Davies, EXEUNT on THE HOES

“Anna Reid's set design is as bright as the women it holds: pastels and neons are set against the hues of a sunset… What makes the show a milestone, besides the exceptional writing, is the invigorating composition of the cast and creative team.”

Cindy Marcolina, BROADWAY WORLD on THE HOES

"Strikingly designed"

Julia Rank, THE STAGE on TINY DYNAMITE

“Powerfully and starkly designed by Anna Reid”

STAGE TALK on DUST

“an impressive, minimalistic set design”

Jasper Cunningham, THE PEG on DUST

"Anna Reid’s set design... stands out. Strikingly, it provides a blissful contrast to the fraught emotional landscape: a wooden deck encircled by a moat evokes a place of serenity and idleness"

Brendan McDonald, EXEUNT MAGAZINE on TINY DYNAMITE 

"Designer Anna Reid has her work cut out conjuring both a drawing room and a wood in Southwark's small theatre. But simple elegant ideas - like the canopy of lampshades whose bulbs descend to invoke an intimate grove - transport us perfectly"

Lucinda Everett, WHATSONSTAGE on DEAR BRUTUS

"In this intimate auditorium on the architecturally clean lines of Anna Reid's set, there's an extraordinary sense of being in vaulted palace chambers and cathedrals as echoes and reverberations amplify our imaginations perfectly"

THERE OUGHT TO BE CLOWNS on THE CARDINAL

"it’s the first time I have seen the Finborough stage used in this alignment, and it works beautifully"

Tom Birchenough, THE ARTS DESK on I'M GONNA PRAY FOR YOU SO HARD

"with Anna Reid's excellent set and Jack Weir's lighting, it's insightful, sometimes uncomfortably relatable theatre"

Cindy Marcolina, BROADWAY WORLD on I'M GONNA PRAY FOR YOU SO HARD

"spot on set by Anna Reid"

Dominic Maxwell, THE TIMES on SCHOOL PLAY

"The set design, by Anna Reid, is perfect. It felt like I was back at my primary school: surrounded by the same bright blue, squishy little chairs for children, wavy coloured borders on the whiteboards, and towers of grey filing cabinets... It is intricate enough to feel real, and not messy enough to be distracting."

Rebekah Ellerby, A YOUNGER THEATRE on SCHOOL PLAY

"Often, designers don’t get nearly enough credit, but in School Play, now running at Southwark Playhouse, they most certainly deserve it... Every detail, from the brittle, cost-effective carpeting, to the flickering fluorescent light, to the cards and personal knick-knacks that inhabit the desks, is a perfect recreation. The level of detail is unsettlingly accurate, and to those who attended a primary school like this, it’s instantly and spookily familiar."

Sophie Adnitt on BRITISHTHEATRE on SCHOOL PLAY

"The action all takes place in the local community sports changing room facilities and Anna Reid’s slightly grimy well used and much loved portrayal of such facilities is simple yet authentic."

Ruth Gerrard, THE REVIEWS HUB on JUMPERS FOR GOALPOSTS

"The superb setting immediately suggests clammy, chlorine-infused collusion."

Fiona Mountford, THE EVENING STANDARD on DRY LAND

"The excellent design by Anna Reid traps us in the worrying atmosphere of a locker-room after hours."

Paul Taylor, THE INDEPENDENT on DRY LAND

"Anna Reid’s design gives a surreal, utilitarian beauty to the multiple locations of the sex workers’ lives: a series of fridges across the back wall open to represent the homes of the different characters, containing key personal effects. Each scene is visually distinctive and arresting"

Rachel Knightley, REMOTEGOAT on BRUISES

"Anna Reid's original and clever set piques your curiosity when entering the venue. The back of the stage is lined with fridges which are opened throughout the performance to reveal props from the various scene locations (there’s even a miniature stag’s head mounted on the back of one ice box.)"

Anne Cox, STAGE REVIEW on BRUISES

"A dystopian doom rages outside a lonely man’s home throughout S.P.I.D. Theatre Company’s latest piece... if anyone can be credited with successfully forging an alternative universe, it’s Anna Reid. So immersive is her design, that stepping into this venue’s secondary attic performance space seems like a property viewing in this vibrant Zone 2 location.... There’s a lot crammed into this artfully run-down council flat and Reid valiantly delivers a set that’s so well designed, it’s easy to mistake for a found space."

Amelia Forsbrook, EXEUNT MAGAZINE on ARTHUR's WORLD

"Anna Reid has done an incredible job in realising all the areas of ‘Felicity’s’ journey, from ‘Maggie’s’ cardboard house to ‘Finn’s studio/apartment and a great level of care has gone into creating these spaces that aid the flow of this story."

Jello Biafra, THE NEW CURRENT on FIERCE

"The set design by Anna Reid was full of playful quirks that Griffiths could incorporate into the performance... Although the inside of the artist’s flat, this set is many other things too – the inside of a McDonalds, the streets of London and the bare exposure of love in many of it’s forms."

Emily Jones, BARGAIN THEATRE LAND on FIERCE

“a pitch-perfect set”

Helen True, FEMALE ARTS on HAMLET

"an interesting and powerful set design"

Carla Turner, A YOUNGER THEATRE on HAMLET