FeedIndex

Current work includes: All We Ever Wanted Was Everything, Middle Child, Paines Plough Roundabout, August 2017, Cosmic Scallies, by Jackie Hagan, Graeae + Royal Exchange, Summerhall, August 2017, We Were Told There Was Dancing, Royal Exchange Young Company, August 2017.

Work in development includes: None Of The Above, Luca Rutherford, Department of Distractions, Third Angel, Grief Series Part 6 + 7, Ellie Harrison, Party Skills for The End Of The World, Nigel Barrett + Louise Mari, Shoreditch Town Hall. An ongoing project WARMTH is a wood-fired mobile sauna and performance space, commissioned by Compass Live Art and touring nationally WARMTH will be at LICAF, Kendal, October 2017.



Trained in architecture, I am a performance designer working across dance, theatre and installation, with particular interest in site-specific and devised performance. 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.

2017
Party Skills for the End of the World, Nigel Barrett and Louise Mari, Manchester International Festival, June 2017, All We Ever Wanted Was Everything, Middle Child, Welly, Hull, June 2017, Dark Corners, Polar Bear, Battersea Arts Centre, April 2017, A Studio Season: Three devised adaptations, Royal Central School of Speech and Drama in association with Complicite

2016
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.

2015
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.

2014
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]


+447932009915
studio@bethanywells.com
BETHANYWELLS .COM


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, Cosmic Scallies, Jackie Hagan, Northern Stage at Summerhall [August 2017]



Set on a concrete roundabout, two old friends navigate an endless cycle of appointments + the bureaucracy of the NHS.





By Jackie Hagan
Directed by Amit Sharma
Lighting Design by Josh Pharo
Sound Design by Lewis Gibson
Produced by Graeae and Royal Exchange

Photography Jonathan Keenan


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



Set across more than 40 spaces within a disused university campus, Party Skills For The End Of The World takes over the whole site with classes, workshops, gigs + a huge party. How will we get by when the end comes and how will we celebrate everything that’s made life worth living? Make a gas mask, pick a lock, throw a knife, learn to make the perfect Martini, make a snare or skin a rabbit.





'The use of the space – a disused, labyrinthine building on the University of Salford campus – is inspired. It’s large and confusing enough that it’s possible to lose all sense of where you are as you follow fellow audience members down gloomy, torch-lit corridors... 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
Lighting Design, Marty Langthorne
Sound Design, Ben + Max Ringham


Design + Costume Design, All We Ever Wanted Was Everything, Middle Child, Welly, Hull, [May 2017] Paines Plough Roundabout, Summerhall [August 2017]



Taking over a nightclub, wth five stages surrounding the audience, All We Ever Wanted Was Everything combines a club night, a gig, and a three act drama spanning three decades into one theatrical event. Mobile stages are pushed and pulled through the crowd as the stories unfold, giving a different shape to each act. Indie haircuts, parkas evoke the 90s, glow sticks and glitter take us to student club nights of the early 2000s, while smartphones + selfies bring us back into 2017.









Exhilarating
★★★★ – The Stage

'thrilling, chaotic, heartwarming and occasionally overwhelming'
★★★★ – Claire Slobodian, Explore Reading

Be prepared to laugh a lot, cry a little, be engaged in action and feel a beat which resonates in memory and moment. It’s one hell of a night out.
Laura Peterson - Browse Magazine



By Luke Barnes
Directed by Paul Smith
Music by James Frewer
Sound Design, Ed Clarke
Lighting Design, Emily Anderton
Design Assistant, Natalie Young

Photograpgy Sarah Beth


Design + Costume Design, Removal Men, Yard Theatre [November 2016]







'mesmerically intense production ...a ritualistic space where the rules break down, and wild things play.'
★★★★ – Alice Saville, Time Out

'Its best moments are brilliant. Joshua Pharo's lighting flushes it with colour, then plunges back into institutional glare, while Bethany Wells' minimalist design slowly reveals its institutional colour scheme – a lick of yellow that suggests something hazardous.'
★★★★ – Matt Trueman, WhatsonStage

'Miller directs with verve, frequently filling the Bethany Wells’ stripped-back office set with psychedelic lights and smoke as the story dives in and out of characters’ heads. The end result is part W1A-style satire on bureaucracy, part emotionally-charged dream sequence, part veiled political vent...'
★★★★ – Fergus Morgan, The Stage

'...production fits like a glove into the unadorned, warehouse-style atmosphere of this pioneering Hackney venue.'
'...the strength of Removal Men is in its achieving just such a feeling of nervous roughness, without which this visceral experiment would be dead on its feet.'
★★★★ – Tom Birchenough, The Arts Desk

'The production values of this play are expertly judged'
Daniel Perks, Exeunt



Written by M. J. Harding, with Jay Miller
Directed by Jay Miller
Music composed by M. J. Harding, with Jonah Brody
Lighting and projection by Joshua Pharo
Sound by Josh Anio Grigg
Movement direction by Project O
Casting by Lotte Hines


Photography Caleb Wissun-Bhide


Design, Seen + Not Heard, Complicite Creative Learning, Arts Depot and Southbank Centre [August + October 2016]



Does the era of social media mark an increase in narcissism and image-obsession, or does the rise of the selfie mean that children are finally able to take control of their own images? Created through a series of workshops, the performance sees the young participants running a photographic studio, in which they dress, style and photograph the audience. The sensitive process involved in developing images in the darkroom allow a space for reflection about the role of photography in our lives.









Directed by Kirsty Housley
Produced by Poppy Keeling
Complicite Creative Learning

Photography Richard Lakos