The Chronic Identity Crisis of the Pamplemousse Northern Ireland Opera 2019
“Katie Davenport’s bright, cartoon-like costumes [are] a veritable feast for young eyes”
- www.britishtheatreguide June 2019
The Magic Flute Irish national Opera 2019
“Katie Davenport’s costumes were spot on too: Pamina was becomingly decked in a riding cape, Tamino in tweed and Papageno in a wonderful straw costume. The domineering Sarastro was immaculately dressed in a red riding coat, top hat and a hunting crop. His foot servants donned white tie and tails and the women were traditional Victorian maids. The Queen of the Night mutated between a witch with horns to a pale, snake-like figure.“
- Backtrack 23rd May 2019
“Completing the storybook feel is the damsel-in-distress Pamina of Anna Devin, beautifully dressed in Katie Davenport’s costumes…
- GoldenPlec Michael Lee 25th May 2019
A Portrait of the Artist as a Young Man Rough Magic Dublin Theatre Festival 2018
“Katie Davenport’s shiny plastic set offers reflective surfaces against which Sarah Jane Shiels’s lights shimmer and dance as we move from the various Dedalus homes to the educational institutions that inspire the hero’s intellectual journey. A giant faceless statue of the Virgin Mary looms over every scene, reinforcing the cold, impersonal hold that Catholicism has on Stephen, but it also emphasises its inevitable irrelevance. Davenport designed the costumes, too, and her denim suits offer a uniformity to the ensemble, enabling easy transformations from one character, and one Stephen, to the next.“
- Irish Times 1st October 2018
“It is not surprising to see that sets and costumes are designed by Katie Davenport, and with them she captures a very fresh, bright, youthful flavour that is perfect. Davenport has created many wonderful sets before, but this is truly a triumph, lit wonderfully by Sarah Jane Shiels. Looking at the story through bright primary colours, in costumes as well, really lifts it, making it engaging, modern and very watchable, while also having throw backs to past times, such as the old dinner table and the gas SuperSer type heaters. It captures the spirt, and cheekiness of Riordan’s adaptation and by turn, of Joyce, while creating something very unique. By not looking at the visual literally, Davenport has created a world of its own, that while set back in another time, reminds us so much of our time.“
- Red Curtain Review 30th September 2018
The Tales of Hoffmann Irish National Opera 2018 (Irish Times Nomination Best Costume)
“Davenport’s visuals, supported by the high-energy lighting design of Sinéad McKenna, suddenly and rather magically kick in with the start of act II, the first of Hoffmann’s tales. The prologue’s dreariness is at once dispelled, replaced by the gleam and flash of Spalanzani’s laboratory, here presented as the venue for a modern-day techno-product launch. The product, of course, is Olympia, the lifelike mechanical doll, updated by Davenport to a humanoid inspired by the iconic female Maschinenmensch in Fritz Lang’s 1927 film Metropolis….costumes constantly grow and intrigue as the opera unfolds, particularly among the chorus, which sometimes presents a striking but organic gender fluidity.”
- Irish Times 17th September 2018
“Creed sets the work simply, in a kind-of present: mixing the now we know with the future imagined for us a few decades ago, complete with technology that mostly works and far more colourful daywear than we allow ourselves (with superb costumes designed by Katie Davenport).”
- GoldenPlec 22nd Septmeber 2018
A Midsummer Night's Dream Rough Magic 2018
"In a show without a set, Katie Davenport’s wonderfully brash, colourful and strikingly memorable costumes acted as a key visual link throughout."
- Irish Times 15th August 2018
"Katie Davenport’s sublime costuming, dashing with sequins and furs, is made opalescent by Sarah Jane Shiels’s breath-taking lighting. It perfectly captures the conceit of a production where the fairies’ magic is electricity."
- Exeunt magazine 13th August 2018
"Yet it is Katie Davenport’s captivating costumes which clearly convey “A Midsummer Night’s Dream’s” visual sensibility, one in which history often skirts close to nostalgia. Looking like an early 80s Vivienne Westwood collection stitched together with a heavy dose of 90s club culture, Davenport’s retro stylings capture all the fun, frolics, and flamboyance of student night at The Hacienda, or The Roxy. Even if some of the anarchic looks seem a little dated in places, Davenport’s vibrant, quirky, colourful costumes, showing just a hint of fetish, capture a punk-like, car crash, youthful energy that’s both striking and playful."
- The Arts Review 11th August 2018
"The production does not take a particular spin on the play but does indulge itself in some lavish and elaborate costumes created by Katie Davenport. The fairy folk are a particular highlight, dressed in leather and plastic, they look like an androgynous glam rock band or extras from the Rocky Horror show"
- No more workhorse 12th August 2018
What put the Blood Abbey Theatre 2017
"With both Lucianne McEvoy’s Hermione, and Julie Rodgers’ Andromaque, delivering alternating monologues from a fixed position throughout, Katie Davenport’s exceptional costumes go a long way to creating much needed context, and filling in many unknown blanks, allowing McEvoy and Rodgers, under McLaren’s astute direction, to both deliver engagingly strong performances"
- The Arts Review 28th October 2017
"Costume-designer Katie Davenport creates two nightmare wedding dresses .. a spectacularly trashed meringue wedding dress.
- Irish Independent 5th November 2017
From Eden Theatre Upstairs 2016
"...special mention goes to Katie Davenport's wonderful set design of a bathroom undergoing renovations - a heavenly sanctuary from the hellish pressures of organised fun"
- Eithne Shortall, The Sunday Times
"...technically perfectly directed by Karl Shiels in an excellent set by Katie Davenport, lit by Eoin Stapleton."
- Emer O'Kelly, The Sunday Independent
"...Alan sitting on the unconnected toilet, bottle of wine between his feet, hunched over his glass on Katie Davenport's wonderful, detailed set, the quirky, almost abstract, window catching the eye."
- Red Curtain Review
"Set Designer Katie Davenport does a remarkable job crafting a set that’s essentially a supporting metaphor. A liminal, transitional space, all fractured and broken, looking to be repaired, with remnants of the past protruding from bathtubs like shrapnel after a battle. There’s hope hidden beneath its upended floorboards, but only if the characters are brave enough to take it"
- The Arts Review 9th November 2016
"Framing all of this, Katie Davenport’s set is simple but holds a wealth of subtle signification. The setting of the unfinished bathroom, old chipped paint on the walls with samples of new, colourful paint optimistically painted over it mirrors the experiences of the characters. Each is a person who has been chipped away at and is trying to repaint themselves and start afresh."
-The Reviews Hub 19th May 2016