KATE MOYLAN IS AN AWARD WINNING PRODUCTION AND COSTUME DESIGNER. SHE IS BASED IN DUBLIN IRELAND WITH OVER 8 YEARS EXPERIENCE IN THE THEATRE, FILM, MUSIC AND EVENT INDUSTRY.
+353 (0) 85 125 9807
hello@katemoylan.comVerve Offices
11-15 Erne Street Upper
Dublin 2
Ireland
Originally from Kilkenny, Kate graduated from Limerick School of Art & Design with a BA in Sculpture and Combined Media. After working in the theatre industry for several years, Kate recieved a scholarship for a Masters Degree at The Royal Welsh College of Music and Drama. She returned to Ireland after completing her Masters to begin work as a production and costume designer. Over the past few years Kate has built up an impressive body of work in the theatre, film, commercial, event and music industry.
Driving Miss Daisy
“The politics of being allowed inside or left on the outside are neatly reflected in Kate Moylan’s effective design, a kind of de-segregation of spaces where a staircase banister twists up into the form of a tree and flowerbeds encroach on the living-room floor.
Peter Crawley, The Irish Times
Bailegangaire
“The most striking feature of this revival of Tom Murphy’s Bailegangaire is the set. Kate Moylan’s design suggests a storybook land, reinforced by the startling witch-like presence of Mommo”.
Sara Keating, The Sunday Business Post
Kings of the Kilburn High Road
“Murphy’s play, now 16 years old, is a realistic glimpse of diaspora, masculinity, bitterness and ruin. But in the wickedly grim embellishments of Kate Moylan’s set, you see a faint will in Livin Dred’s touring production to edge it to something more expressive. Here the walls are slick with nicotine, an exit door is barricaded with a bar stool, and – in a gesture that Sartre would have admired – a round pale absence marks the spot where a dartboard used to be. That is true purgatory, a place that has long since lost its target.”
Peter Crawley, The Irish Times
Bailegangaire
“The set, by Kate Moylan, offers a slice of rural realism, the Spartan décor underscoring the deficiencies of this distorted home. The looming pylon and barbed wire that overhang the thatched roof outside, meanwhile, remind us of just how locked in time by grief all three of the women are.”
Fiona Charleton, The Sunday Times
Driving Miss Daisy
“Kate Moylan’s set occupies the challenging vertical space of the Gaiety with immense style and Southern elegance, all curves and arches and a simple creeper takes the eye upwards.”
Katy Hayes, The Independent
Are you there Garth, its me Margaret
“Saving graces are a highly professional set and lighting from Kate Moylan and Conleth White respectively.”
Emer Kelly, The Independant
