We recently announced the publication of our first-ever guide for students and emerging creatives interested in set design.
As part of it, we have put together a list of designers whose work we think is genuinely worth watching right now!
The designers featured are: Frankie Bradshaw, Hyemi Shin, Ana Inés Jabares-Pita, Marg Horwell, Jean Chan, Georgia Lowe, Paul Wills, Ben Stones, Max Jones, Grace Smart, Khadija Raza, Rose Revitt, Eleanor Bull, TK Hay, Anna Yates, Liam Bunster and Basia Bińkowska.
They span new writing, opera, musicals, and classical texts, and, between them, have worked across some of the most respected venues in the country.
These are up and coming designers, each with a distinct creative voice and a body of work that we find genuinely compelling.
Having built sets for productions designed by people at every level of the profession, we feel well placed to shine a light on the talent shaping the industry's future.
It’s a cross-section of the profession as we see it, and we hope it opens a few doors for emerging creatives who are still finding their way in.
See the Set Designers guide by clicking the link in our bio.
From our South London workshop, Scott Fleary delivers creative construction across theatre, television, live events, art installation and retail.
Our team covers the full build process in-house, from design, technology and CNC through to engineering, carpentry, LED and electrics, paint and finish, and installation.
Over the past 30 years, that breadth of capability has taken us well beyond London.
We work on productions that travel, and so do we, whether that means installing scenery in a West End venue, fitting out a broadcast studio, or taking a build overseas for the Olympics!
If you have a project in mind and want to talk through what is possible, we would love to hear from you.
Scott Fleary on set👀
We love the build phase, seeing it all come together is magical.
All of your hard work comes to fruition.
Of course a big shout out to the Set Designers and Project Managers, it wouldn't be the same with you.
The West End just had its biggest year on record. 17.64 million theatregoers.
A pipeline of productions that shows no sign of slowing, and behind all of it, workshops full of people who started work long before the first rehearsal.
We have been thinking about what that demand looks like from where we sit, the coordination it takes, the precision required, and the relationship between a construction team and a production that only gets more important when timescales tighten.
If you work in theatre or live production, or you are simply curious about what goes into the shows you see, our latest blog is worth a read.
Link in bio.
This #mentalhealthawareness week, we wanted to shine a light on something quietly significant happening within our team.
Larissa Valls, our Deputy Project Office Manager, completed a two-day Mental Health First Aid course with St John Ambulance last year, and since then, she's been a point of contact for anyone at Scott Fleary who needs a conversation or a bit of direction without judgment.
She's clear that the role isn't for diagnosing anyone or offering clinical advice, but rather being a grounded, confidential presence.
Someone who can help signpost the right support, assess whether a situation needs escalating, and sit with you if you just need to talk.
Larissa has noticed something since the course that's worth saying out loud.
People are opening up more. Even in a very male-dominated environment, where these conversations don't always come easily, the mere knowledge that someone is there, trained and ready, seems to make a difference.
Mental health support in physically demanding, fast-paced workplaces doesn't have to look a certain way. Sometimes it starts with a poster on a wall and one person willing to have a real conversation.
If you're part of the Scott Fleary team and want to know more about the support available, Larissa is there.
Backstage careers in theatre and television are among the most rewarding in the creative industries, yet they are also among the least discussed.
We want to change that.
We have written a blog making the case for apprenticeships in creative construction, drawing on conversations with our own apprentices.
We also look at a brand-new degree-level programme through Creative Alliance and hear from Bendy Ashfield, Co-Director at Theatre People, about the work being done to open up these routes to more people.
If you are a student weighing up your options or a parent trying to understand what an apprenticeship actually involves, and want to know more about what happens behind the scenes, this is worth your time.
Read the full blog by clicking the link in our bio.
What separates a good creative construction build from a great one is rarely the big decisions.
Most sets that come through our workshop are technically sound by the time they leave.
The structure is solid and the engineering does what it needs to do.
What takes a build from good to genuinely great tends to live in the details that no one in the audience will ever consciously notice, the way a surface holds up under repeated use or the precision of a join that has to land perfectly every single night.
A great build also comes down to the conversations that happen early.
When a designer's vision and the practical realities of a build are discussed honestly at the start of a project, the whole process runs differently.
Problems that would have surfaced on site get solved at the drawing stage, and the people building the set understand not just what they are making but why it matters.
At Scott Fleary, that is what we are working towards on every project. Delivering something that the whole team is proud of when the curtain goes up.
Creative construction is one of those industries that most people walk past every day without realising it exists.
The sets you see on stage and the studios you watch on television have all been built by a team of people working hard long before any audience arrives, and honestly, we think that's pretty cool.
At Scott Fleary, it all starts in the workshop, where carpenters and engineers work from technical drawings to build the physical structure of a set.
That might mean fabricating a rotating drum for an opera house or constructing a three-storey house designed to sit in a pool of water.
Once the structure is there, painters take over, applying the kind of detail and finish that has to convince an audience from every angle under stage lighting.
Project managers hold the whole thing together throughout, coordinating across every department to ensure nothing is late or missed.
It is one of the few industries where you can go from reading a set designer's vision on paper to standing inside it within a matter of weeks, and after all these years, that never gets old.
For the first time in over 30 years of building sets alongside some of the most talented designers in British theatre, we have put our experience into something new!
We have created a guide for students and emerging creatives who are curious about set design as a career.
We have worked with designers across theatre, opera, live events and performance, watching ideas move from early sketches and models into full-scale physical environments.
That process gives us a perspective on the profession that feels worth sharing, and this guide is our way of doing that.
It covers what set design actually involves day to day, why the career path can feel difficult to understand from the outside, and what we have consistently seen make the difference in the designers we most admire and work alongside.
Whether you are a student weighing up your options, a recent graduate finding your footing, or simply someone curious about where a creative career in theatre could lead, we think this is worth your time.
Read the full guide by clicking the link in our bio.
UK theatre is breaking records. And yet, the industry is under more financial pressure than it has been in years.
The Society of London Theatre published their latest annual report in March 2026.
As a company that builds sets for theatre productions, the findings reflect a reality we see every day.
Matt Scott recently spoke to Luana Basso on City News TV about what rising costs mean for production and set construction, and we have unpacked the full report on our blog.
Click the link in our bio to read the blog!
Nick Roberts, our Project Principle, is walking 10K for charity!
On the 18th of April at Hampton Court Palace, he is raising money to help with the fight against Breast Cancer.
Nick has a close friend going through treatment now.
He is participating alongside his wife, other friends and family.
We're asking if you could spare some money to donate to the Pink Ribbon Walk.
The link to donate is on our profile.
On behalf of Nick, Scott Fleary and the Breast Cancer battle, we thank you!
Slide across to see some golden pictures of Nick.
Throwing it back to Wimbledon!
Summer is on its way, and with it comes tennis season.
As the courts will soon start filling up again, we're revisiting the ESPN broadcast studios Scott Fleary built at the All England Lawn Tennis Club, designed by Alan Streluk of Shedworks Studio.
Working across Studios 3 and 12, the sets featured interactive and tracking screens, a mighty video wall, green walls with finishes in concrete, oak and gold.
The project came together in close collaboration with Chris Watson for ESPN and the wider Disney team, moving from appointment to delivery in under 100 days!
High quality finishes on a CDM site, alongside coordinating with the team coming in from the US, made that turnaround a real achievement.
A project worth looking back on as the season gets underway again.
