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Cradled in a set beautifully designed by Jen McGinley, the gift of the '50s is a style and period which evokes a soot-abundant city where the blackness and the darkness of the soul of the city was set against the blackness and the darkness of the tenement buildings covered in the industrial waste of the shipyards and the heavy industry for which Glasgow was famous.

THE LONG DROP | Donald C Morgan, British Theatre Guide

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'A stylishly designed staging of Willy Russell's classic two-hander'

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'Designer Jen McGinley delivers Frank's messy office in delightful detail, with piles of books spilling out into the audience and a window to the rear, through which the blossoming branch of a tree tracks the passing seasons'

EDUCATING RITA | Fergus Morgan, The Stage

 

'The set looked fabulous as the Quays Theatre transforms into Mount Olympus, if Mount Olympus were a building site. Jen McGinley’s impressive set design looks both gritty and majestic, but also allows for the cast to interact with the audience, and the audience to feel they are part of the drama, not immune from the Gods’ wrath.'

★★★★ GODS OF SALFORD | Matt Forrest, Opening Night

 

 

'Jen McGinley’s set and Derek Anderson’s lighting are a real star feature. With a full-size summer house, a menacing chain-link tennis-court fence behind which Annabel’s childhood fears are hidden, and a central subterranean well into which murderous secrets tumble, it enhances Ayckbourn’s absorbing drama'

★★★★ SNAKE IN THE GRASS | David Pollock, The Stage

 

 

 

'It also enjoys clever design by Jen McGinley, with parts of the set sliding past each other, like trains at a station'

★★★★ BRIEF ENCOUNTER | Mark Brown, The National

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'The energy generated by these four – under Joanna Bowman’s direction, with terrific design by Jen McGinley and movement by Vicki Manderston – seems almost supernatural in itself' 

★★★★  MOONSET | Joyce McMillan, The Scotsman

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'the floor opens up with a series of traps as a giant hoop rises and falls overhead in

Jen McGinley's graceful design'

★★★★ A MIDSUMMER NIGHT'S DREAM | Michael Davies, What's On Stage

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'Jen McGinley’s set design immerses the action in a multi-purpose corporate setting. The space works brilliantly and does not restrict the action, plus with the implementation of Lewis den Hertog’s video design being projected onto a screen, we feel we are directly in the action and see the flawless set up close'

★★★★★ THE ENEMY | Lewis C. Baird, Theatre Scotland

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'elements are all skilfully interlaced into the action by director Finn den Hertog, set designer Jen McGinley and video designer Lewis den Hertog'

★★★★ THE ENEMY | Clare Brennan, The Observer

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'Jen McGinley’s sharply authentic design' & 'Great performances, monologue writing and design details are nice to watch'

DISTANCE REMAINING, Thom Dibdin, The Stage

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'The centrepieces of Jen McGinley's authentic-looking immersive design are a fully working bar and a karaoke stage, lit in bright and acidic colours by Jack Weir. If you opt for the pub table seating you may well forget that you're in a theatre space at all'

★★★★ CINDERELLA | Alun Hood. Whats On Stage

 

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Jen McGinley’s design is a testament to the human imagination: the looming black space suggests a cave, blackboard or study; a pair of bookshelves are rearranged in endless permutations

★★★★ SAPIENS: A BRIEF HISTORY OF HUMANKIND | Miriam Gillinson. Time Out

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'wonder there is in this production. Jen McGinley’s set consists largely of bookcases, filled with battered volumes that bespeak endless use, that are magically reconfigured to expedite the play’s journeys into the deep past' 

SAPIENS: A BRIEF HISTORY OF HUMANKIND | Ben Brantley, New York Times

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