For Marina Carr’s Marble, the set was conceived as a shared dream-space: neither domestic room nor literal quarry, but a monumental marble condition in which the characters are trapped.

The design places the action in traverse, suspending the performers between two opposing audiences and turning spectatorship into part of the scenography. Overhanging marble volumes compress the space from above, while a sculptural caryatid column transforms the human body into architectural support ; a figure carrying the emotional and structural weight of the world around it.

Marble operates as both material and metonym: a surface of beauty, permanence, wealth and desire that gradually becomes oppressive. The result is a psychological chamber where fantasy, aspiration and entrapment take architectural form.