Skip to main content

IMPORTANT INFORMATION: Our booking system is currently down. Please call +44 (0) 20 7514 7015 or email to contact our team. Booking will be available again in the next 24 hours.

Your creative future starts here:


Adam Nee – MA Theatre Design

Adam Nee, 2017
Written by
Frances Bailey
Published date
27 September 2018

We caught up with MA Theatre Design graduate Adam Nee on his influences, his time on the course and the industry links he has made leading to work at the New Wimbledon Theatre, Zest Theatre and with renowned set designer Es Devlin OBE.

How would you describe your Theatre Design practice?

I completed a BA in Theatre Design at Central St. Martin’s but wanted to explore in greater detail my enjoyment of opera. I have a keen interest in film, opera and theatre but feel like my work has a cinematic quality which I have explored in my final designs. I believe opera is a genre which still alienates many areas of society due to the misconception that it’s aimed at a certain type of class. My aim is to make opera more accessible to people who have never experienced it before.

An small scale set design featuring the cutout of a woman and a table and chairs.
Adam Nee, 2017. Image courtesy Kristy Noble

How do you think your practice has changed and developed over the course of the MA Theatre Design?

Assisting a designer on a production and then being offered a job as a designer on Bugsy Malone has helped me gain more experience in working as a theatre designer. These industry links have definitely led me to question my design choices and hopefully allowed my designs to improve from these opportunities.

Can you tell us about some of the productions you’ve worked on?

I was assistant designer at a Shakespeare season at New Wimbledon studio on 3 productions and was then offered the role of Designer for Bugsy Malone at New Wimbledon Theatre. This was an amazing experience as I saw the design go from initial concept to the stage. I’ve also been model making for Es Devlin for her V&A exhibition which was a fantastic opportunity.

A theatre set with multiple figures on
Adam Nee, 2017

What made you decide to want to do the MA Theatre Design at Wimbledon?

I was excited about the links to the industry and working with existing designers and theatre collaborators. The central London location obviously helped as made it easier to contact industry professionals and gain experience.

What have you enjoyed most about studying the MA Theatre Design?

I have loved how different the year group is and the amount of talent that each individual has bought to the course. We have had backgrounds in architecture, costume, lighting, fine art and interior design. Bouncing ideas off each other and seeing how other students have developed has been a great experience.

A drawing of 4 different characters in costume.
Adam Nee, 2017

What have you found the most challenging part of the course?

Just the amount of things I wanted to fit in such a short amount of time! I wish the course was longer!

Can you tell us a little more about the work you exhibited at the Summer Show?

I exhibited The Fiery Angel by Sergei Prokofiev. It’s a great 5 act opera which is steeped in mysticism, the occult and supernatural. I also showed models and costumes for Anton Chekhov’s Three Sisters, Tennessee Williams’ A Streetcar named Desire and Alan Parker’s Bugsy Malone.

A small scale set design
Adam Nee, 2017

What is next for Adam Nee?

Currently I’m Design Associate for Verity Quinn who’s working with Zest Theatre designing What Once was Ours and I’ve just been offered a position as Design Assistant with Gary McCann designing My Fair Lady for Teatro Di San Carlo starting in October.

Discover more about MA Theatre Design.

See more of Adam’s work at