Hannah Clark

"The costumes for Berenice and Selene are pure eye candy: stunning floral prints beautifully cut over enormous farthingales.” Bachtrack

"Hannah Clark’s inventive design – fabulous, faintly crazed wigs and costumes, the action taking place around a semi-circular green bench – made much of little." Observer

“Hannah Clark’s resplendent 18th-century costumes and clever set - essentially a semi-circular banquette on which three accompanying musician (what Handel would have called his continuo players) form part of the background - add to the considerable visual appeal of Adele Thomas’ intellectually focused and witty production” The Stage

"Adele Thomas’ staging, colourfully costumed by Hannah Clark, strikes a comparably fine balance between period decorum and theatrical vitality. Seated during the overture on a semi-circular banquette sipping tea, the cast plays scratchy 18th-century opera singers rather than the historical dignitaries specified by the libretto.” Telegraph

"The opera shines as a musical and visual spectacle, with all the powdered-wig excess worthy of its era: Staging, in which the players literally run rings around each other, flying over and around Hannah Clark’s simple yet sumptuous set, befits the delicate mille-feuille of a libretto.” Londonist

"Handel’s Berenice was written for Covent Garden in 1737 and returns there now, under the auspices of the London Handel Festival, in a striking period-costume show by Adele Thomas. It is elegantly designed by Hannah Clark as a tea-sipping Georgian romp on a semicircular sofa.” Sunday Times