The Hunting Lodge | Unicorn Theatre

“This often visually lush production (designed by Simone Romaniuk in crushed crimson satins and autumn colours), conjures a ballroom cum forest where the trees are made of chains.” Lyn Gardner | The Guardian

“it’s spritely and wry, sporadically romantic and suitably lush, with Simone Romaniuk’s design a tumbling of red velvet and gold streamers.” Rafaella Marcus | The Stage

La Vie Parisienne | RNCM

“Spectacular staging and excellent singing make for a vibrant and fast-paced La Vie Parisienne” Robert J Farr | Seen and Heard International

“Simone Romaniuk had created an incredibly versatile, inventive and adaptable design – magically transformed, for each new scene while we heard the entr’actes – with clear, colourful sets and evocative projected backdrops. She also created the lovely costumes, putting the story into the 1930s with a sure hand (we find the lifestyle of drone-like English aristos and the foppish Parisian demi-monde quite believable in the era of Jeeves and Wooster).” Robert Beale | Manchester Classical Music

“The set, designed by Simone Romaniuk, was wonderful, imaginative and inventive, especially in the Moulin Rouge setting and the finale. The costumes, also by Romaniuk, were a riot of colour, a  sumptuous display of extravagance and decadence.” Anita Ferguson | StreetwiseOpera

“The staging and lighting was simple, but excellent: in fact, the reveal at the beginning of the second act merited a round of applause on its own.” Manchester Confidential

“One delight of seeing the whole cast on the stage is to marvel at Simone Romaniuk’s costumes.” David Keyworth | Weekend Notes

Happy Ending | Arcola Theatre
“Simone Romaniuk’s design has flashes of brilliance” Paul Vale | The Stage

Macbeth | Queensland Theatre Company
“… it’s Simone Romaniuk’s set, and David Walters’ lighting, that steal the show. Gorgeous to look at in its own right, it’s essentially a towering forest, not just indicative of ­Birnam Wood coming to Dunsinane, but of nature’s ever-present capacity to overwhelm the schemes of men. Yet it never makes the actors seem small. The net result? A play of chilling relevance in a modern world where Machiavellian ambition, political manoeuvrings by the ­unworthy and sheer, out-of-­control venality can still be found in public life.”   Martin Buzacott | The Australian

Fractions | Queensland Theatre Company
“The story is complemented by some stunning set design from Simone Romaniuk, with dark and pale scrolls crammed into boxed-frames, rising toward the ceiling, making the library resemble a cathedral.”   Peter Taggart | Artshub

“Fractions also demands the attentions of the senses with evocative intensity. The set displays a labour of love in the form of a forest of parchment scrolls in varying states of disrepair.”   Sommer Tothill | Brisbane Times

The Mikado | Opera Queensland
“Designed as a touring production, … designer Simone Romaniuk’s set on rollers looks like it only needs an allen key to turn into a flat-pack, but it works ingeniously, while the opening of Act Two uses just three sheets of perspex with pink carnations attached to create a visual impression so striking that it generates spontaneous applause.”   Martin Buzacott | The Australian

“The Mikado’s design elements also played between pop cultural and traditional culture, kitsch oriental and Japanese style, and British empirical style and sensibilities. The effect was like being presented with a decadent layer cake, each style element on top of the other, whilst brought together brilliantly with a sugary sweet icing.”   Kelli Rogers | Australian Stage

“The rousing success of Opera Queensland’s sparkling new production of The Mikado, Gilbert and Sullivan’s most popular work, is due to four people, Director Stuart Maunder, Set and Costume Designer Simone Romaniuk, Choreographer Siobhan Ginty, and Conductor Brian Castles-Onion.”   Peter Pinne | Stage Whispers

Bombshells | Queensland Theatre Company
“QTC designer-in-residence, Simone Romaniuk, has created a fantastic revolving set for the piece that serves not only to preserve O’Leary’s modesty for her multiple on-stage costume changes, but helps transfer scene to scene by simply moving the set around. The final scene is a fine example of how a small set can be used to great effect in a space like the Cremorne Theatre.”   Nathanael Cooper | The Courier Mail

“Each vignette was supported by a striking revolving set, designed by new Resident Designer, Simone Romaniuk.”   Bobbi-Lea Dionysis | Aussie Theatre

Kelly | Queensland Theatre Company
“… the always excellent Simone Romaniuk’s diamond-shaped set focuses the dynamic on the claustrophobic and constantly surveyed confines of a prison cell.”   Sommer Tothill | Sydney Morning Herald

“A very small, simple raised square platform that leaves room for extra audience seating to crowd in around it; it is the cell of Kelly, and the night before his execution; bare but for a bench and a blanket, a low slung metal grated roof and a guard walk suspended above it. It’s quite amazing how designer, Simone Romaniuk’s opened walled, minimalistic set could feel so close and claustrophobic in a room of a couple of hundred people…”   Sonny Clarke | Aussie Theatre

Elizabeth: Almost by Chance a Woman | Queensland Theatre Company
“The set and costume design by Simone Romaniuk is as wittily wicked as the script…”   Flloyd Kennedy | Artshub

“Superb set design (watch out for the immediate mood-change that the two swinging bulbs bring) and inventive costuming transport the audience away from the Powerhouse Theatre to a fantastical place where headless dollies, four-poster beds and gigantic rocking horses reign.”   Lucy Babbage | StageMilk

“Inspirational was Simone Romaniuk’s boldly smocked fabric set design representing the Queen’s befuddled brain, through which characters slip in and out discreetly, depending where her thoughts turn.”   Jay McKee | Stage Whispers

The Wizard of Oz | La Boite, The Danger Ensemble, Brisbane Festival
“…with Simone Romaniuk’s exhilarating costumes setting the tone for the performance in this interesting space; the munchkins as neon rave kids, a hipster scarecrow, lion and tin man, and the wicked witch, swathed in a sculptural dress, adopting the stance of a high-fashion model. It’s fabulous – and stimulating – to look at, properly intergrated into a show that aims to confront and surprise.”   Vicki Frost | The Guardian

“But this particular retelling brings an unexpected life to the tale, largely due to the quirky set and costume design by Simone Romaniuk. It’s a sort of spellbound backyard, where the story’s familiar faces suddenly morph into these technicolour-pop-culture hybrids, turning your wholesome family fare into a provocative Gaga-esque amusement park.”   Torrey Atkin | Artshub

Venus in Fur | Queensland Theatre Company
“The set design (Simone Romaniuk) along with the lighting design (David Walters) became intrinsic to the play, as both were incorporated into the action… Though it might be a little too early in the year to call it; what the hell, I’m going to name Venus in Fur ‘production of the year’.”   Dan Betts | Aussie Theatre

“All production elements work well in concert, Simone Romaniuk continuing to impress with her standout set designs.”   James Gauci | Stage Milk

Head Full of Love | Queensland Theatre Company
“Simone Romaniuk’s set design also deserves a special mention. Picture a stage covered with red earth, against a back drop of corrugated iron which doubles as a screen for projection. Beautiful, contrasting oranges and blues that not only evoke the desert but also the complementary differences between the two women.”   Jemma Lanyon | Aussie Theatre

The Magic Flute | Opera Queensland
Simone Romaniuk’s flexible set and zany costume designs for this touring production are a delight.”   Gillian Wills | The Australian

“Set and costume designer Simone Romaniuk, in her company debut for Opera Queensland, brings the fantasy and colour of the circus to the stage using the full palette of colour and spectacle.”   Tamara Whyte | Australian Stage

The Merry Widow | Opera Queensland
“Director Anna Sweeny’s take is firmly located in composer Franz Lehar’s era of decadence, sexual dalliance and dance. Designer Simone Romaniuk’s winning suite of Belle Epoque dresses and lavish sets brilliantly evoke this world.”   Gillian Wills | The Australian

Bone | Ride On Theatre
“The production was taut and beautifully staged by Simone Romaniuk in a wonderful simplicity.”   Brett Casben | Australian Stage

Frankenstein | Ensemble Theatre
The set transforms remarkably, with relatively little moving elements… the artifice of stagecraft is at once visible and unobtrusive, enhancing the atmosphere of the piece beautifully.”   Trevar Alan Chilver | Australian Stage

“Simone Romaniuk’s wonderful set designs are sparse, fluid and atmospheric.”   Lynne Lancaster | Artshub

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