"... The play remains the same drawing-room comedy but plumped up, stylishly rearranged and with a fresh coat of paint (we’ll get to Anna Fleischle and Cat Fuller’s sumptuous designs later)... Fleischle’s set, with its elegant curves, screens and geometric patterns, is adorned with a chaise longue and painted in shades that evoke Fortnum & Mason’s lavish confectionery…

Fleischle and Fuller’s costumes heighten the imperiousness of Constance’s mother (Kate Burton) as much as the shrewdness of her sister, Martha (Amy Morgan, in a role gaining elements of the excised character Barbara)."

The Guardian

"None of this is performed in isolation though; thankfully, it’s all contextualised by Anna Fleischle’s gorgeous set which brings the world of The Constant Wife to life in style. Just as Harvey directs her actors with a light touch, Fleischle sets the scene plainly with two sofas and a gorgeous backdrop. There are hidden features to reveal clever details throughout, peeling themselves off in layers as the play progresses, often unveiled to the gentle beat of Jamie Cullum’s new jazz compositions for the production. As with everything else in The Constant Wife, there’s more beneath the surface than you first see."

All That Dazzle

"Anna Fleischle’s set is both a naturalistic Harley Street flat, in tones of taupe and subtle pinks, and a time machine where Ryan Day’s light seeps through the walls as the action winds backwards and forwards and a staircase up and down is visible through the screen at the back like an illustration in a storybook. Beautifully acted by the entire cast, directed with finesse and flair, it’s a lovely soufflé of feeling and humour, a theatrical treat as stylish and well-judged as the interiors Constance designs."

WhatsOnStage

"The production also boasts a fabulously garish design by Anna Fleischle, colliding flowing art-deco decadence with Bauhaus curves. Constance’s trendy, uncluttered drawing room is decorated in salmon and mint, with an accent wall of hideous, geometric-pattern wallpaper. Gauzy backcloths turn transparent under Ryan Day’s playful lights, revealing silhouetted figures prowling about on their assignations. Tightly controlled bands of illumination spread along the contours of the set, forming neat squares and stretching strips of colour.

Lavish costumes – co-designed by Fleischle and Cat Fuller – are similarly bold, featuring silky batwing dresses, sweeping luxe jackets and ropes of glittering jewellery. While the overall look is gaudy, it vividly catches the uninhibited, adventurous spirit of an era of abrupt social change, when women like Constance overturned entrenched inequality and rightly asserted their independence.

The Stage

"While the play feels strikingly modern in places, there is no doubt when and where it is set, thanks to the sumptuous design, and music composed by Jamie Cullum, who provides appropriate jazz crooning, by way of pre-recorded vocals. Anna Fleischle designed the impeccable set (which had to be good, as Constance makes her name as a fashionable interior designer) and was co-costume designer with Cat Fuller. The outfits are to die for."

Birmingham: What’s On