When I began to work on this production the first task was to understand what story the co-directors Richard Hayhow and Mikel Murfi had, how they wanted to tell it and through what style.

I then embarked on a period of research, gathering information and visual references from children’s bibles to Byzantine icons. Building a folder of photographs, postcards, my own sketches, swatches of fabrics, colours and location/venue snapshots. During this initial phase I was very interested in the architectural features of the ruins of Coventry Cathedral and of the contemporary art representations housed in the New Cathedral. They are physically linked so I looked for a visual link between the two, as a result much of the forms on the set and props developed from this.

Into the visual melting pot came other strong influences such as Salvador Dali and Hieronymous Bosch. From early meetings in a cottage in the west of Ireland slowly a visual iconography emerged. At all times we wanted to retain a timeless quality to the production, visually drawing from the biblical era to the medieval period and yet retaining a contemporary accessibility to it, I guess a balance.

The complex task in designing for a production of this scale is to keep things simple. Whilst designing structures, props and costumes far in advance of rehearsals, you have to keep in mind that performers will have to use and inhabit what is drafted on paper. Add to that lighting, a score, voices and movement in a space filled with audience.

Working on this production I saw my role as a visual interpreter of the directors ideas and the head of a team of extremely creative and talented artists, carpenters, welders, puppeteers and propmakers. In addition to all this a costume team whose skill has made a mammoth task an achievable one.

The late nights and many journeys are long forgotten when you see everyone’s contribution come together. A production of this scale is a cyclical collaboration of all that became involved, a continuous motion of questions, answers, problems and solutions, and for you, the audience, I hope that this production invites you into this motion as the final link in the chain.