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With a passion for theatrical set and prop design Rachael has spent the past 16 years amassing over 100 projects as a professional designer in Auckland.

For Auckland Theatre Company, her works include Venus in Fur; You Can Always Hand Them Back; Lysistrata; The Ladykillers; The Lollywitch of Mumuland; Other Desert Cities; Polly Hood in Mumuland; Anne Boleyn; Kings of the Gym; The Gift; In the Next Room, or the vibrator play; Calendar Girls; God of Carnage; Who Needs Sleep Anyway?; End of the Rainbow; The Tutor; The Bach; The Vagina Monologues; Play 2 and Play 2.03.

Theatre highlights for Silo Theatre are Boys Will Be Boys; Angels in America; Midsummer; Private Lives; The Brothers Size; Loot; Holding the Man; Betrayal; The Cut; Lobby Hero; Some Girl(s); The Case of Katherine Mansfield; Under Milk Wood and Glide Time.

She also designed Mother Courage and her Children; Balm in Gilead; The Dining Room; Jacques Brel is Alive and Well and Living in Paris; The Three Sisters; Top Girls; Cloud Nine; Macbeth; Scenes from the Big Picture; Measure for Measure; Sons and The Crucible (Unitec); A Number; The Return and Proof (A Lethal Set); and Aladdin (Auckland Festival 2003). She also had fun designing the set for Tim Bray’s Royal Jubilee Performance of Hairy Maclary in 2012 for the Prince of Wales and Duchess of Cornwall.

She won Excellence at the Auckland Theatre Awards in 2014 for Silo Theatre’s production of Angels in America and in 2016 for ATC/Court Theatre’s production of That Bloody Woman. Rachael was the 2008 URBIS Best Stage Designer.

Before her recent productions at The Court, Rachael was on Cantabrian soil as the Props Mistress for Canterbury Opera’s production of Bellini’s Norma in 2002.

Court Shows