Current credits include: ONLY FOOLS AND HORSES (West End)
Theatre credits include: EARLY DOORS (UK Tour, McIntyre Entertainments); BEIRUT (Park Theatre); THIS IS NOT FOR YOU (Graeae, Greenwich/Docklands International Festival and 14-18 NOW); THE LAST TESTAMENT OF LILLIAN BILOCCA (Hull City of Culture 2017);REASONS TO BE CHEERFUL (Graeae UK Tour); THE HOUSE OF BERNARDA ALBA (Royal Exchange Theatre & Graeae); FAWLTY TOWERS (Australia Tour); LEGENDS(UK Tour); A BETTER WOMAN(Marlowe Theatre); A VIEW FROM THE BRIDGE (Touring Consortium); TARTUFFE, OF MICE AND MEN (Birmingham Rep); LUCIA DI LAMMERMOOR (Scottish Opera); GRAPES OF WRATH (RADA); ON GOLDEN POND, GOLDEN LEAF STRUTT, SAD ARTHUR’S TRIP, AGNES OF GOD (Belgrade Theatre); TROJAN WOMEN, TIS PITY SHE’S A WHORE, AS YOU LIKE IT, THE NATIVITY (Liverpool Everyman); ALICE’S ADVENTURES IN WONDERLAND, A MIDSUMMER NIGHT’S DREAM, THE IMPORTANCE OF BEING EARNEST, THE THREE MUSKETEERS, THE SNOW QUEEN, DEATH AND THE MAIDEN, ROBIN HOOD, BEAUTY AND THE BEAST (Dukes Playhouse Lancaster); MERRILY WE ROLL ALONG (Watermill Theatre); BEAUTIFUL THING, BLITHE SPIRIT, THE THREE SISTERS, CHILDREN’S HOUSE, STRAWGIRL, THE ADOPTION PAPERS, ROOTS, MARY BARTON, HEDDA GABLER, AS YOU LIKE IT, FAST FOOD, SO SPECIAL, THE SEAGULL, THE RISE AND FALL OF LITTLE VOICE (Royal Exchange Theatre); ON THE SHORE OF THE WIDE WORLD (Royal Exchange Theatre & National Theatre); KATHERINE HOWARD (Chichester Festival Theatre);CAVALCADERS (Tricycle); LADIES IN LAVENDER (Royal & Derngate and UK Tour); CANARY, SEVEN UP, VINCENT RIVER, APOCALYPTICA, GIVE ME YOUR ANSWER DO, YELLOWMAN, ANNA IN THE TROPICS, LOSING LOUIS, THE RUBENSTEIN KISS (Hampstead Theatre); PEGGY FOR YOU (Comedy Theatre, London & Tour); TWO GENTLEMAN OF VERONA (RSC, National Tour); HONOUR (Wyndams Theatre); CORRIE! (Lowry & Tour) HOTEL IN AMSTERDAM (Donmar Warehouse).
For the Gate Theatre, Dublin: ALL MY SONS, UNCLE VANYA, PYGMALION, DUBLIN CAROL, SEE YOU NEXT TUESDAY (Duke of York Theatre); THE BEAR, AFTERPLAY (The Spoleto Festival, South Carolina, The Gielgud Theatre); FAITH HEALER, YALTA GAME, AFTERPLAY (Sydney Festival); ONE FOR THE ROAD (St Martin’s Theatre, Lincoln Centre – New York for The Pinter Festival).
Opera Credits include: THE CARMELITES(Grange Park Opera); PORGY AND BESS (The Royal Danish Opera); LUCIA DI LAMMERMOOR (Houston Grand Opera Texas, La Fenice Venice & The Sydney Opera House).
Liz graduated with a BA Hons from Wimbledon School of Art. She has been awarded the Arts Council Trainee Design Bursary, the UNESCO award for Promotion of the Visual Arts (Prague Quadrennial), and TMA Best Designer.
THE LAST TESTAMENT OF LILLIAN BILOCCA
THE LAST TESTAMENT OF LILLIAN BILOCCA is Co-directed (along with Sarah Frankcom) and Choreographed by Imogen Knight, is Designed by Amanda Stoodley and Liz Ascroft is the Associate Designer.
The Times ★★★★
“Exquisitely choreographed by Imogen Knight…hypnotically dreamlike”
“startlingly potent. Pungent with the tang of saltwater and tears, it’s big-hearted and simply beautiful.”
The Guardian ★★★★
“What’s most interesting is the way the work reclaims the Guildhall”
“exhilarating and moving, a show made for and with the people of Hull”
The Stage ★★★★
“Sarah Frankcom and Imogen Knight's production makes ingenious use of the whole building”
“A dimly lit, wood-panelled corridor seems to become the dank hull of a ship”
“It’s impossible not to be drawn in”
“without doubt a major achievement”
“The production by Sarah Frankcom and Imogen Knight takes every advantage of a wonderful site”
Liz Ascroft is Designer on THE HOUSE OF BERNADA ALBA at the Royal Exchange
In a landmark co-production, Graeae bring their unique focus on accessibility and different theatrical languages on this translation of the play by Jo Clifford. Directed by Jenny Sealey, it plays in Manchester until the 25th February.
The Guardian ★★★★
“breathtaking theatre by the most economical means.”
“seamless incorporation of British Sign Language, visual description and captioning”
The Stage ★★★★
“Liz Ascroft’s set, with its patterned floorboards and heptagonal arrangement of chairs, makes effective use of the Exchange’s playing space.”
“rich, thoughtful, timely”
The Financial Times ★★★★
“Liz Ascroft’s design meshes beautifully with play and theatre alike.”
The Times ★★★★
“The set by Liz Ascroft is stark, stripped back to a circle of chairs, a table with a lamp. Some descriptions appear written on the stage such as “It is summer” and “The walls are white”.”
“It all makes for an extraordinary production.”
The Reviews Hub ★★★★
“an engaging production, truly accessible to all and not only remaining faithful to its source material, but accentuating its themes brilliantly.”
“a magnetic and mesmerising performance"
“The set, by Liz Ashcroft, is clever and offers a terrific dramatic climax to the evening which it would be unfair to spoil by saying more.”
What’s On Stage
“Liz Ascroft's set is eloquent: a circle of chairs on a wooden floor, worn pale underfoot, that suggests a lengthy confinement.”