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All artwork included herein this document is the sole copyrighted property of the designer, Kenneth MacLeod, unless

otherwise stated. No reproduction of any of this document may be made without the express prior arranged permission of the designer.
West Side Story, Royal Conservatoire of Scotland, March 2015: My final third-year production at the Royal Conservatoire of Scotland in Glasgow was an
imagining of the musical classic, West Side Story. We tried to highlight the universal messages of love, war and gun-violence by transposing the action to a
universal industrial wasteland. In keeping with the dance-heavy nature of the show, I devised two “dancing” trucks, equipped with two scrap metal climbing
frames, that allowed for a myriad of streetscapes to be formulated.
Building NYC: These images show my 1:25 model, showing how the trucks are arranged to
create difference spaces, namely the balcony scene and the dance hall showdown, their
positions in those scenes also reflecting the star-crossed lovers, and the rival gangs,
respectively. Maria’s fire-escape balcony became a single platform that flew in with Maria
inside. Tony then scaled the scrap-metal climbing frame to her to say goodnight.
(below) An excerpt of my final technical drafting and (right) a final set piece in the paint shop.
Characterising a world: These renderings
show my developing of the industrial “no-place” of
West Side Story, from surface textures, graffiti and
packaging graphics found in Doc’s Drugstore.

Making the mundane, magical: Myself and director Andrew Panton formulated a concept that
involved focussing on the transformative powers of love for the central couple. This involved
creating “magical moments” where their love would transport them from the dingy, violent
world around them.
In these moments, we transformed a New York post-bin into a jukebox, and an overhead
railway bridge into a glittering night sky, through the use of fibre-optics. .
Two rival gangs: (above) A
composite of some of the
costume renderings of the two
gangs.
Initial thoughts: (right) An early
sketch, pre-casting, exploring
Tony and Maria’s characters.

Where, when and who? : These costume renderings show my attempt in trying to distill a distinct
“American” look that audiences could connect with, mixing with modern trends and re-emerging 50s
styles to create a look more transcendent. Anita, (above), is a Puerto-Rican in love with America, and
so is an epitomisation of the American-dream, down to her modern take on an iconic 50s dance
dress. Maria, (right), begins less self-aware, but comes-of-age by the finale.
The final showdown: Photos of the final
production. New Atheneum Theatre, Royal
Conservatoire of Scotland, March 2015
The Balcony Scene

Maria is suspended in space, like a caged bird, the sole object of Tony’s affections and the lone
star in his sky. He later scales the scrap-metal frames for their first kiss.
Cabaret, Royal Conservatoire of Scotland, March 2016: Immediately after my final year
production of West Side Story, I was hired back to design The Royal Conservatoire’s
production of Cabaret.

My starting point was graphic art of the 1930s, and uses the stylings of the abstract, deco
shapes I created a Kit Kat Club that reflected the sense that the characters worlds were
collapsing around them - a direction reflected of the political and socio-economical
situation in Weimar Germany. The in-world graphics informed some of the production’s
posters and advertising material.
Setting The Scene: We strived to envelop the
audience in a gritty, anarchic, yet vibrant world
based on the very real underworlds of Weimar
Germany. In the spirit of the cabarets of the
time, the tone of the show was to be as risqué, as
“meta” and as immersive as possible.

These images show some early graphic
treatments for tongue-in-cheek propaganda
posters, tattoos for the Emcee, and a Mein Kampf
leaflet handed out to audience members in the
interval during a staged Nazi convention.

Working with our choreographer, I also created
the above puppets used in “Don’t Tell Mama”
that later became sadistic Nazi-youths.
Populating die Klub: These costume renderings show some of the final designs for
the Gorilla, Ernst, Sally, The Emcee and the Kit Kat Klub ensemble.
I worked extensively with the cast to develop unique personalities for their Kit Kat
character, developing their character background, fetish(es) and profession.
The ensembles costumes riffed off of fetish and cabaret costume from all eras in
creating a mis-match of silhouettes. Sally Bowles was the only one in a glittering
silver, characterised as an optimistic, if not untalented and faded, showgirl.
Wilkommen: (above and below) Photos of the final production. New Atheneum Theatre, Royal Conservatoire of Scotland, March 2016. Our ambition was to
immerse the audience in our world. Based on the concept that the auditorium was our Kit Kat Klub, we built out into the stalls, creating numerous secret trap-
door entrances under a myriad of cabaret tables. Centre stage was an explosion of shape, with an abstracted, collapsing proscenium at the heart of it.
Money Makes The World Go ‘Round, P&O Arcadia, November 2016:: Following the critical success of Cabaret, I
was asked to design a new musical for cruise company Carnival for their P&O ship, The Arcadia.
Money Makes is based on the classics of Kander & Ebb, and called for a seductive design that threw references to
the worlds of Cabaret and Chicago, but was a unique take on a faded-glamour “jazz and liquor” filled world.
A twisting double-spiral staircase “cage” set on a revolve created an infinite number of opportunities for staging,
and allowed for slick scene changes from “on-stage”, to “backstage”. At the finale, a secondary staircase flanked the
central cage, resolving the structure as the heroines resolved their differences.
“Bombshell”
Bombshell, hypothetical: Based on a fictional musical outlined in
NBC’s television series “Smash”, these designs are for a musical
based on the life of Marilyn Munro.
Taking the established story points and songs from the TV series,
I created my own fictional story treatment and design.
In my imagining of “Bombshell,” the action takes place in a
derelict movie palace, with Marilyn emerging through a hot pink
perspex cinema screen, as both the observer and the much
observed.
Not About Heroes, Eden Court Theatre/Scottish Tour, October
2014: This production of Not About Heroes was part of a unique push
by Eden Court Theatre in Inverness and Creative Scotland to create
a larger output of work to tour the Scottish Highlands and Islands.
Based on the relationship between
Seigfried Sassoon and Wilfred
Owen, we imagined a bleak
abstracted world that reflected
both a scrapped, blank sheet of
paper, and the desolate wasteland
of the figurative and literal war
that their minds still inhabited.

The set was entirely modular,
allowing it to contract and expand
in the various venues, that ranged
from large scale theatres, to rural
town halls.
Chess, Royal Conservatoire of Scotland, March
2017: Costume renderings from upcoming
production of Chess. With the starting pint of 80s
music-video and glam-pop culture, we planned to
elevate the chess players to rock-god celebrities,
with the world on the brink of global-chess
hysteria.
Check: Early renderings and models from Chess, elevating the chess match into
an arena event on an Olympic scale, with lashings of 80s rock concert energy.
Checkmate: Final production images of Chess, displaying scenes from the Arena, One Night in Bangkok and the
final showdown. Sixty four moving lights, shone through a looming 64-squared suspended grid, that eased in and
out with the action.
The Maids, Dundee Rep, October 2017: In deciphering the text of Jean Genet's classic, we were struck by the theme of building a false reality in the face of

The Maids a bigger, harsher world. 
Our design created a sumptuous 1947 Parisian boudoir, in beautiful, if not crumbling, splendour. On either side of the room, two perspex tanks sat, holding
each maid before releasing them into the playing space every time their game began anew - the first of many clues that their lives is a constructed simulation
in a bigger, more sinister, unknown.
The Maids
The Maids, Dundee Rep, October
2017: Final production images.
Spring Awakening, Royal Conservatoire of Scotland, March 2018: These concept renderings show the design of a production of Spring Awakening,
SPRING currently in pre-production. In exploring the tensest points of adolescence,, and the parallels between the youth of today and the youth of 1891
Germany, we have set the piece in an 1890s school gymnasium - a setting of near-nakedness, sweat, and regiment. Gym bars form a cage-like structure

AWAKENING around the playing space, the perfect setting for unbridled sexuality, Victorian scandal and the athletic choreography of the Conservatoire’s Musical
Theatre students.

Spring Awakening, Royal Conservatoire of Scotland, March 2018: Much like the characters, the
gymnasium, complete with stacks of forgotten school furniture, explodes into musical-video-rock-concert
world, as the blackboard flies out to reveal the band, near floating in a fluorescent, pop-rock attic.
SPRING Spring Awakening, Royal Conservatoire of Scotland, March 2018: Following the 1890s gymnasium setting, our
characters are garbed in vintage school gym wear, with the girls in individual “bruise-toned” skirted jumpsuits, and the

AWAKENING boys in period soccer and sportswear.
The adult characters, representing the strict, dated, authoritarian views of the time, are the iconic Victorian governess
and staunch headmaster.
Various scenic artwork, character design & illustration.
www.kenneth-macleod.com

All artwork included herein this document is the sole copyrighted property of the designer, Kenneth MacLeod, unless otherwise stated. No reproduction of any of this document may be made without the express prior arranged permission of the designer.