The Ladykillers, Gielgud Theatre

Michael Taylor’s set is hilarious …the house itself a nightmare of skewed tumbledown Victoriana. It revolves to roofscape or street, and as the trains pass (a miniature railway streaks across the roof) it rattles china, opens and shuts drawers, and knocks shelves and pictures askew…  The heist itself occurs in miniature, vertical plane, automotive puppetry and flash-bangs on the brick façade, to cheers from the stalls. In the final denouement, that glorious set pulls one last trick. An incredible one. My lips are sealed.
Libby Purves, The Times *****

Just the sight of the crooked, dottily eccentric house occupied by the sweet and unsuspecting Mrs Wilberforce raises a smile, for it has been brilliantly designed by Michael Taylor and springs some surprises in the course of the show.
Charles Spencer, Daily Telegraph ****

This has to be the best theatrical house since the one in An Inspector Calls. Surmounted by Gothic tracery that evokes nearby King’s Cross Station, Mrs Wilberforce’s crooked, caved-in mansion heaves and wheezes, its lamps flickering, pipes clanking and soft furnishings fluttering all with a will of their own.
Sheila Johnston, the Arts Desk, ****

Michael Taylor’s skew-whiff domestic folly of a set turns in a wonderful performance, as furniture rattles and rotates to the judder of every passing train
Paul Taylor, The Independent *****

Best of all, though, is Michael Taylor’s jaunty and jumbled set, which received two separate ovations of its own on press night.
Matt Trueman, Whatsonstage

Michael Taylor’s stage set, described by Linehan as “the seventh cast member”, a design so dazzling that it draws spontaneous rounds of applause from the audience.
Liverpool Daily Post

It’s Michael Taylor’s stunning set which threatens to upstage (literally) the lot. The designer has recreated the interior of landlady Mrs Wilberforce’s Lemony Snicket-style home – where no angles are right – in a hugely ambitious, complicated twist and turn of rooms, rooftops and tunnels.
Liverpool Daily Echo

It was the enchanting, wonderful set designed by Michael Taylor that truly stole the show. Bursting with imagination and charm, the crooked house revealed stagecraft so delightful you could weep. It is, it turns out, entirely possible for simply the set of a play to bring a tear of joy to the eye. Who knew?
On Stage Liverpool

…the best performance by a set in London (designed by Michael Taylor)
Mark Shenton, The Stage

The Ladykillers’ set, designed by Michael Taylor, was so impressive that audiences in the West End would regularly give it its own round of applause. Now, it’s repeating the trick (perhaps even more impressively) on tour around the UK. An amazing achievement.
The Stage 100 2013

What The Butler Saw, Leicester Curve and Bath Thatre Royal

Michael Taylor’s gleaming white circular set is so good it makes you gasp.

Dominic Maxwell, The Times

Kill Johnny Glendenning, Edinburgh Royal Lyceum and Glasgow Citizens

Michael Taylor’s sets are tremendous, particularly the Ayrshire farm that is totally ludicrous but whose attention to detail makes it utterly believable.

Sherlock Holmes – The Best Kept Secret, West Yorkshire Playhouse

The scenery is terrific.  Michael Taylor has a killer eye for the romantically sinister.  Here is towering ironwork, billows of smoke, inexplicable boats with lanterns in fog and echoing spaces suddenly invaded by revolving mini-sets:  Baker Street rooms, a prison cell, a working gallows, diabolical machinery, a fairground freak-show with working guillotine.  At one point the British Museum’s Egyptian Gallery, complete with mummified cadavers, descends 50’ from the roof…
Libby Purves, The Times

Michael Taylor’s epic set, making use of a fluid revolve structure and detailed trucks, drips with atmosphere
The Stage

The main thing Nikolai Foster’s production has going for it is his own directorial flair: thanks to suspenseful music and a thrilling design that whirls us from Holmes’ snug lodgings to gloomy, fog-shrouded locales, the spine is set a-tingling…
The Daily Telegraph

Waiting for Godot, Edinburgh Royal Lyceum

Michael Taylor’s set, a white curved wall with apertures to either side of the stage, is the best I have seen in more than 25 years of Godots. Suggesting both detention and void, caking the unfortunate characters in off-white mud, it is a thing of symbolically infertile beauty.

The Daily Telegraph

Amidst designer Michael Taylor’s brilliantly-conceived set of snow-blasted nothingness, stretching off into the false horizon, the casting of Scots actors Brian Cox and Bill Paterson is a pairing to grab the attention

The Independent

With an exquisitely empty, luminous set by designer Michael Taylor and lighting man Mark Doubleday, Mark Thomson’s anniversary production offers a unique, austere, yet immensely rich insight into what may be the greatest play of the last century;

Joyce McMillan, the Scotsman

Visually, it’s immediately beautiful. The set is one giant, white, optical illusion. Angles and gradients transform the stage into something vast, trapping the characters in what Estragon calls “void”. Aside from the central tree, used for various devices both literal and metaphorical, our men are abandoned in depthless, icy tundra. When they are upstage, they appear dwarfed and stuck and doomed, like spiders in a bathtub. When Lucky is delivering his speech downstage, the set frames the characters perfectly, artistically, like a weird Guinness ad from the 80s


A Christmas Carol, Royal Theatre Northampton

From the opening sequence of carol-singers weaving through London fog … this highwire act, treading between workhouse grimness and Christmas jollity, is judiciously reproduced in every aspect of the production, but nowhere more so than Michael Taylor’s extraordinary set. Vast, mobile towers comprised of leather-bound volumes, trunks and pieces of heavy furniture create a ramshackle arena that’s variously cramped and threatening (for Scrooge’s office) or open and warm (for Fezziwig’s party), with all shades of versatility in between.

If they were giving out awards on this show the prize would surely go to the set design, by Michael Taylor, which really does become as much a part of the story-telling as the narrators and the characters…with the ramshackle array of old trunks, boxes, desks and cobwebs, not forgetting the nooks, crannies and doors that abound. The audience never knows where someone is going to appear from next

The Misanthrope, Liverpool Playhouse/ETT tour

This adaptation treads the thin line dividing the tragic from the comic – as does Bodinetz’s production, beginning with an astonishing coup de theatre when a darkened stage is transformed by designer Michael Taylor and Paul Keogan’s lighting into a gleaming gilded cage for flashy fops and gossiping society ladies to pose and strut in. There’s eye-popping splendour too in the costumes
The Stage

All’s Well That Ends Well, The Globe

…the best-dressed performance I’ve seen at this venue … Designer Michael Taylor has organised a gorgeous array of Jacobean costumes, draping the cast in lush velvets, fine lace and glowing satin. To go with these fabrics, scaled-up etchings supply French landscape, while powdery blue lamp-posts accessorise the stage.
Patrick Marmion, The Daily Mail

Unusually lovely even for the Globe, Michael Taylor’s designs set the drama against monochrome backdrops
Oxford Times

Shadow of a Gunman, The Tricycle

…the crumbling house (wonderfully realised in Michael Taylor’s design) is Ireland itself…

… Michael Taylor’s fantastically realistic recreation of a leaking slum dwelling…
Daily Telegraph

Dominic Dromgoole’s superb revival, staged with stunning realism by designer Michael Taylor

Out In The Open,  Hampstead Theatre

…glorious design by Michael Taylor…
Ian Shuttleworth,Financial Times

My Boy Jack, Hampstead

…incredible battle scenery…
The Stage

The Cherry Orchard, Royal Lyceum

…Michael Taylor’s revolve set is brilliantly conceived…
Thom Dibdin, The Stage

All My Sons, Royal Lyceum

Designer Michael Taylor’s handsome set is perfect, inch by grass-covered inch, in its naturalism. Indeed, if you are sitting in the first few rows of the stalls, you can smell the real flora with which the designer has adorned the Kellers’ front garden
Mark Brown, Daily Telegraph

Michael Taylor’s backyard design, lit with crystalline beauty by Jeanine Davies, has a dreamlike clarity and perfection.
Joyce McMillan, The Scotsman

The Man Who Had All The Luck, Royal Lyceum

Beautifully and elegantly designed by Michael Taylor (Designer)…an atmospheric barn interior, followed by the stylish sophistication and freshness of the living room of the Falks

Clever Dick, Hampstead Theatre

Michael Taylor’s design of the hotel bedroom is one of the best at this address for some time, flooded with New Mexico sunsets and with all the doors in the right places for the shenanigans.
Michael Coveney, Whatsonstage