Current work includes: A New And Better You, Joe Harbot, Yard Theatre, Journey With Absent Friends, Ellie Harrison, Grief Series, Busking It, Danusia Samal.

A performance designer working across dance, theatre and installation, with particular interest in site-specific and devised performance. Trained in architecture, my starting point is always to explore how space communicates through time in performance. I see design as a form of activism; I am interested in exploring what can be achieved politically and socially by the collective live experience of performance.

I am an Associate Artist with Middle Child Theatre, Hull.

An ongoing project WARMTH is a wood-fired mobile sauna and performance space, commissioned by Compass Live Art and touring nationally WARMTH warmthsauna.co.uk.

None Of The Above, Luca Rutherford, The Department of Distractions, Third Angel, Party Skills for The End Of The World, Nigel Barrett + Louise Mari, Shoreditch Town Hall, SKIP RAP, Alan Clay, Mind The Gap, TRUST, Gate Theatre, LEGACY, York Theatre Royal.

The Book Of Dragons, York Theatre Royal, All We Ever Wanted Was Everything, Middle Child, Paines Plough Roundabout, Cosmic Scallies, by Jackie Hagan, Graeae + Royal Exchange, Summerhall, We Were Told There Was Dancing, Royal Exchange Young Company, Party Skills for the End of the World, Nigel Barrett and Louise Mari, Manchester International Festival, All We Ever Wanted Was Everything, Middle Child, Welly, Hull, Dark Corners, Polar Bear, Battersea Arts Centre, A Studio Season: Three devised adaptations, Royal Central School of Speech and Drama in association with Complicite.

Removal Men, Yard Theatre, Dark Corners, Polar Bear, BAC, Seen and Not Heard, Complicite Creative Learning, Southbank Centre, Desire Paths, Third Angel, Sheffield Crucible Fun Palaces, TANJA, SBC Theatre, FADoubleGOT, Jamal Gerald, Assisted Suicide: The Musical, Southbank Centre, The Factory Royal Exchange Young Company, THE FUTURE Company 3, Yard Theatre, 10,000 Smarties, Josh Azouz, Old Fire Station, Oxford, FUSE, Sheffield Crucible Studio, Late Night Love, Eggs Collective, Live Art Dining, Live Art Bistro, Race Cards, Selina Thompson, Correspondence Old Red Lion Theatre, Dancing Bear, West Yorkshire Playhouse + Contact Theatre, A Local Boy, Invertigo, Partus, Third Angel, Sheffield Crucible Studio.

Trois Ruptures Chelsea Theatre, The NEST, Z-Arts, Bubble Schmeisis, Camden People's Theatre, The Win Bin, Old Red Lion Theatre, My Eyes Went Dark, Finborough Theatre, The Unfair, Theatre in the Mill, The Winter's Tale, Orange Tree Theatre, Dancing Bear, Live Art Bistro, WINK, by Pheobe Eclair-Powell, Theatre 503, There, There, Stranger, John Ross Dance, Sadlers Wells + The Place, in association with MOKO Dance.

All I Want, Jackson's Lane, Wilding, Kew Gardens, Disnatured, Shakespeare in Shoreditch, RIFT / New Diorama, The Immortal Hour, Tarquin Productions, Finborough Theatre, Impossible Lecture, Beacons Festival, 17 Finborough Theatre, Canterbury Tales, Impulse Collective, New Diorama, Spokesong, Finborough Theatre, It Burns It All Clean, Selina Thompson, West Yorkshire Playhouse.

I trust in the power of collaborative process to open up space + time to new possible realities. I trust the power of performance to move, shape and question our individual + collective experiences. If you have a project or an idea you'd like to discuss, let me know + we can draw + think over a coffee.

MA Architecture, Royal College of Art [2011]
BSc Architecture, Bartlett, UCL [2007]


Nominated, BEST SET DESIGN for TRUST, Off West End Awards [2018]
Awarded, 110 Anniversary Scholarship, University of Leeds [2014]
Wallpaper Magazine Graduate Directory [2011]
Winner, Helen Hamlyn Design Awards 2011 GMW Architects Award for Work & City, Helen Hamlyn Centre, RCA [July 2011]
Winner, 'Will Alsop Award for Urbanism', Show RCA [July 2011]

Design + Costume Design, Legacy, York Theatre Royal, April 2018

A tiny selfie on a mobile phone from a night out; a glitchy boardroom conference call; a giant corporation manipulating our every move. Legacy brings into question how our realities and memories are formed, stored and used. What information is our world constructed from, and who is in control?

The starting point for this design was to find an architecture for the space that enabled the cast to move quickly between real world spaces, digital platforms, and the world of virtual reality. By layering back-projected images and glowing TV screens, we create a constantly shifting image-backdrop for the performers to be framed against.

The material palette of gloss white and shiny hanging screens waiting to be filled, adds to the instability of the world. Content flashes, deletes and resets. Reflections and light bounce across the surfaces. What can we trust?

To create The Box virtual reality environment, the neat images and branded backdrops are stripped away and we enter a bare space, gritty and textured. A place that feels hyper-real, and in which we are unsure of the consequences of our actions.

'...the hi-tech craft of Bethany Wells's design'
Charles Hutchinson — The York Press

Photography James Drury

Design + Costume Design, TRUST, Falk Richter, Gate Theatre, February 2018

So there’s a couple. Let’s call them Lea and Stefan. Maybe they’ve settled down. Maybe they’ve even got a mortgage. Trouble is, one of them has betrayed the other. Repeatedly.

First it was just small things - a fiver was borrowed and not paid back. But then the car was given away to an expensive lover. And when their flat was sold to 7 different buyers, they both really knew the trust was gone.

Meanwhile, a voice on the radio sings you need more, you need more, you need more.

Jude Christian's production is a funny and irreverent exploration of broken relationships, the tyranny of capitalism and the level of denial you must have to survive systems you can no longer trust.

Off West End Award Nomination for BEST SET DESIGN

'like watching a huge art installation explode into life across 100 minutes'
★★★★ – Tim Bano, The Stage

“Christian experiments with this theatrical space in breathtaking ways”
Ought to be Clowns

'like nothing else around'
Michael Billington, The Guardian

'something between an art installation, a cabaret and the physical equivalent of a social media website, endlessly refreshed'
Sarah Hemming – Financial Times

'Everything is itemised in Trust. Everything is accounted for. The walls of The Gate’s foyer are papered over, secured together with bits of branded sticky tape which read “Trust Developments”. It’s snowing bitterly outside and it feels like we’re crammed into a wendy house in a hurricane. ..'The leaflet you receive from front of house details the source of every prop used in the piece. Everything, it seems, has been borrowed from somewhere else. Everything is reusable. Nothing has to be disposable.'
Ava Davies – Exeunt

★ – Sam Marlowe, The Times

Jude Christian, Director
Josh Pharo, Lighting Designer
Ben and Max Ringham, Composers & Sound Designers
Kaajel Patel, Design Assistant
James Nash, Assistant Director
Ed Borgnis, Production Manager
Anna Sheard, Stage Manager - Props
Ellie Williams, Stage Manager - Book

Photography Tristram Kenton

Design, Party Skills For The End Of The World, Nigel Barrett + Louise Mari with Abigail Conway, Manchester International Festival [June 2017] and Shoreditch Town Hall [February 2018]

The skies are strangely orange. Things aren’t going as well as we thought. The rent’s gone up. Money is tight. It’s a bit too warm for the time of year. You can’t breathe this dirty air. You’re not sure who you can trust any more. What is that man doing over there? What did she just say on the news about missiles? It just feels like the end of the world is coming…

Drink anyone?

'delights and disturbs in equal measure'
★★★★ – Alun Hood, What's On Stage

★★★★★ – Damien Russell, London Theatre 1

'The use of the space – a disused, labyrinthine building on the University of Salford campus – is inspired ...The building is full of ingenious little touches...'
Catherine Love - Exeunt

The event teeters brilliantly between its main themes - one minute you can be laughing and dancing, the next air raid sirens plunge you into darkness and doom.
Dianne Bourne - Manchester Evening News

By Nigel Barrett and Louise Mari
Design Consultant, Lizzie Clachan
Design, Abigail Conway + Bethany Wells
Sound Design, Ben + Max Ringham
Lighting Design, Marty Langthorne
Costume Design, Myrridin Drualus Pharo

Design + Costume Design, The Department Of Distractions, Third Angel, Northern Stage, February 2018.

A single glove in the street,
A torn up love letter in a Metro carriage,
A pair of shoes hanging from a telephone wire,
A phone box that rings as you walk past…

You see their work - but you never see them. So subtle you might not even notice. Snags in the fabric of everyday life. Objects, moments, the seeds of stories, the odd little things you come across every day that make you think, what’s going on there…?

The Department of Distractions, an organisation so clandestine you won’t have heard of them. They say their job is to plant stories in the world “to make life more interesting.” Others would argue that their job is as much to stop us looking in certain directions.

Text by Alexander Kelly
Dramaturgy and additional text by Stacey Sampson
Directed by Alexander Kelly & Rachael Walton
Stage Design by Bethany Wells
Music & Sound Design by Heather Fenoughty
Lighting Design by Katharine Williams
Show Photography Sophie Teasdale

Design + Costume Design, WE WERE TOLD THERE WAS DANCING, Royal Exchange Young Company [August 2017].

Something is happening. Underground.
Someone is running. Someone is hiding. Someone is dancing.
All of them waiting.
For the time when they can be free.

Charting the shifting and stalling attitudes to gay rights, WE WERE TOLD THERE WAS DANCING marks the 50th anniversary of the Sexual Offences Act that began the decriminalisation of homosexuality in 1967 in England and Wales.

DIRECTOR Matt Hassall
DESIGNER Bethany Wells
DRAMATURG Lucija Klarik
TECHNICIAN Gerry Marsden
YOUNG TECHNICIANS Heather Cohen, Sam Frakes, Alex Gaudel, Holly Patra, Rose Wagner-Revitt and Kate Webster