Biography

Paper Costume worn by Nadia Townsend for Ulrike Meinhof in ‘Ulrike Meinhof Sings,’ directed by Sapidah Kian

 

 

Eugyeene recently designed Endgame and Straight White Men for Melbourne Theatre Company, and Blaque Showgirls, Meme Girls, A Social Service and Approximate Translation for Malthouse Theatre. As a co-artistic director and resident designer of Little Ones Theatre, he has designed Dracula, Dangerous Liaisons for MTC’s NEON season, Psycho Beach Party , Salome for Malthouse Helium Season and The House of Yes. As the resident artist at MKA in 2012, he designed the set and costumes for sex.violence.blood.gore, The Unspoken Word is ‘Joe’  and Triangle.  Other recent credits include The Trouble with Harry and Back to Back Theatre’s Lady Eats Apple (costumes) for Melbourne Festival,  Sydney Festival’s In Between Two, Palace of the End and Watch This Production’s Pacific Overtures and Company. With director Adena Jacobs, he designed Elektra, Cleansed and Sydney Chamber Opera’s Exil. With director Samara Hersch, he designed costumes for Next Wave’s Hello There, We’ve been Waiting for You and set and costumes for  HouseNOA and short film SUPER, selected for the 2014 Other Film Festival.  With Natalie Cursio, he designed  Blizzard and Private Dances.  For the 2009 Melbourne International Arts Festival, he designed sculptures for the Shelter: On Kindness exhibition with LAB Architecture. In 2014, Eugyeene undertook the placement in the Besen Family Artist Program at the Malthouse Theatre.

He has been nominated for five Green Room Awards for Meme Girls, Endgame, Triangle, The Trouble with Harry and Pacific Overtures.

Eugyeene is currently on the panel for the Green Room Awards, Poppyseed Festival and New Working Group.

 

INTERVIEWS

 

1

LGBTI People to Watch, for MCV by Rachel Cook

 

Interview with Eugyeene Teh, for Time Out by Tim Byrne 

 

From The Reading Room, Interview with designer Eugyeene Teh, for ‘Scenes,’ MTC subscriber magazine by Paul Galloway

 

The Essential Skills of a Great Designer, for ArtsHub by Richard Watts

 

Little Ones Theatre turns Bram Stoker’s Dracula into a silent black-and-white film on the stage, for ‘The Age’ by Stephen Russell

 

 

 

REVIEWS

 

Blaque Showgirls

★★★★★ Arts Hub

★★★★1/2 The Music

★★★★ Time Out

★★★★ Theatrepeople

“The box set by Eugyeene Teh is clean and multi – purpose, cleverly designed to keep the show fluid at all times. Teh is also responsible for the spirited costuming, potentially influenced by ‘The Adventures Of Priscilla, Queen Of The Dessert’, ‘Muriel’s Wedding’, and Bob Mackie.” Nick Pilgrim for Theatre People

“This cartoon world is designed by Eugyeene Teh, whose work is always stylish and here is a wry commentary on urban Australia.” Keith Gow for Aussie Theatre

 

Straight White Men (MTC)

“The set and costume design is another impressive feat by Eugyeene Teh… he captures the mood perfectly and once again is able to make the environment just as much of a character in the story as the four men on stage.” Myron My for Theatre Press

“The design elements delighted in this production. Sometimes it’s the little details that make a show feel a bit more special. The props subtly complimented the suburban America location with a giant Costco-sized tub of pretzels, a six pack of Coors beer, and a plastic Walmart shopping bag. Eugyeene Teh designed an excellent playing space for the actors in the form of a family lounge room. Here three brothers fought, wrestled, and created a naturalistic family portrait that was almost, perhaps, a bit too realistic.” Jenny S. for The Plus Ones.

“… and special mention to costume designer Eugyeene Teh for the boys’ pyjamas and the wonderful puffin sweater.” Diane Stubbings for Australian Stage.

“The lounge room set had the lovely feel of a comfortable and lived-in home beautifully designed by Eugyeene Teh.” Liam Low for Peril.

Dracula

Time Out (Critic’s Choice)

“Eugyeene Teh’s set and costume design is even more impressive than his previous work with Little Ones, beautifully evoking old Hollywood with stark black and white offset with that sexy-as-hellfire blood orange…. Little Ones are the country’s leading proponents of queer theatre, and they’ve produced a gorgeous and playful piece with Dracula.” Tim Byrne for Time Out

“There’s a vertiginous moment when the curtains first part.  It feels as if we have fallen into the scene.  Swooped through a silver screen into a perilous fantasy…  one part Artaud, one part Annie Sprinkle…  I doubt that Artaud, in his wildest and wettest dreams, could have imagined a company such as Little Ones Theatre.” Chris Boyd for The Australian

“The stage design (Eugyeene Teh) with its glittering silvery-black floor and sheer drapery captures the gothic castle of Dracula as well as the silent movie silver screen.” Kate Herbert for Herald Sun

Meme Girls

★★★★ Daily Review

“How I would love to get inside Eugyeene Teh’s thought process and see how he consistently creates these brilliant sets and costume designs. His pink cylindrical tunnel, as if we are falling into the black hole that is YouTube, is absolutely stunning.” Myron My for Theatre Press

 

Endgame

★★★★★ Time Out

“The costumes are witty and suggestive.” Tim Byrne for Australian Book Review

 

Dangerous Liaisons

★★★★ Herald Sun

★★★★ Time Out

★★★★ Beat Magazine

★★★★★ Toorak Times

“The static space; a killer, gold-curtained, faux-opulent marvel by Eugyeene Teh. The costumes, by Teh and Tessa Leigh Wolfenbuttel Pitt, are a brilliant, ridiculous sea of cerise satin, chiffon and jacquard, all giant skirts and buttoned breeches.” Byron Bache for Herald Sun.

“The gold… set and sheer period costumes [both by Eugyeene Teh (costumes also by Tessa Leigh Woffenbuttel Pitt)], are brilliant, like being inside a Ferrero Rocher.” Tim Byrne for Time Out.

“There is a clarity and coherence in all elements of the design, most impressively in the costumes created by Tessa Leigh Wolffenbuttel Pitt and Eugyeene Teh.” Chris Boyd for The Australian.

The design is dazzling and deceptively simple. A large chandelier hangs over the audience and brings them into the opulent world of the eighteenth century French court that is ably created on stage. The space is lined with high, gold… curtains and the two, continuously reconfigured gold brocade sofas make up most of the interiors required by the script. What really impresses however, are Tessa Leigh, Wolffenbuttel Pitt and Eugyeene Teh’s costumes. All in varying shades of purple and historically accurate, against the gold backdrop, they create a rich and sumptuous visual style which underpins and enhances the script.” Leonard Miller for Toorak Times.

Eugyeene Teh’s set is a sunglasses-reaching explosion of gold luxury. This world is so rich that the curtains and floor are gold; until you look closely and see it’s paper-faux . Into this comes the outrageously lush French court costumes by Tessa Leigh Wolffenbuttel Pitt (and Eugyeene Teh) that are pink, hot-pink rose pink, magenta, glittery pink, see-through pink with bonus pinked-up nipples and sequins.” Anne Marie Peard for AussieTheatre.

The design aesthetic manages to be both minimalist and opulent at the same time; good work from set and costume designers…” Liza Dezfouli for Australian Stage.

 

 

Palace of the End

★★★★ Herald Sun

★★★★ Theatre People

“Incredibly, this … play has been lavished with a lovely, gossamer-light production by director Daniel Clarke and his design team, headed by Eugyeene Teh. The use of space — and Theatre Works is a notoriously difficult venue — is exceptionally good.” Chris Boyd for The Australian.

 “It’s forceful, if blunt, anti-war agitprop…. the narrow almost claustrophobic staging Eugyeene Teh has constructed creates a ghostly sense of unease and lends sharp focus to the acting.’ Cameron Woodhead for The Age

“…The lighting and sound concentrate the emotion and the inescapable darkness and, with Teh’s exquisite set, give the final air and breathing space that’s needed…” Aussie Theatre

I found Eugyeene Teh’s design an eerie yet rather beautiful conceit, perfect for creating the dream-like ambiance for the true nightmare stories we were about to hear.” Mark Pearce for Crikey

“The cavernous space at Theatre Works has been truncated to create a screened off area, intimate yet otherworldly, mysterious with lovely blue lighting; it is as though the audience is invited to step into a no-man’s land to hear voices from the underworld. (Importantly, Eugyeene Teh’s set design nicely solves the problem of the often tricky acoustics in Theatre Works.)” Lize Dezfouli for Arts Hub

 

 

sex.violence.blood.gore.

★★★★ The Age

★★★★ Time Out

★★★★ Crikey

★★★★ ArtsHub

“Eugyeene Teh’s design and costumes fuse tyrannical impulses of fashion with lurid eroticism” Cameron Woodhead for The Age.

“Eugyeene Teh’s set frames the action in a pink simulacrum of a traditional proscenium arch, all wonky Grecian columns and Hans Belmer naked limbs, and the cast is costumed in archly pornographic corsets, dog collars and panties, with the white-face make-up of Kabuki theatre.” Alison Croggon at Theeatre Notes

“Eugyeene Teh (designer) puts them in a pink world framed by body parts and net curtains and clads them in off-white underwear that teeters between repressive uncomfortable and irresistibly hot.” Anne-Marie Peard for Aussie Theatre

“Costumed throughout in exquisite, extravagant and redolent undergarments…” Suzanne Sandow for Stage Whispers

“…the sauced-up, Western colonialist  costume design, … the clever adornment of the bright, boudoir-pink faux-prom-arch set with phallic body-parts that were strongly reminiscent of deities on Singaporean Hindu temples…” Ming Zhu Hii

 

 

Psycho Beach Party

★★★★★ Time Out Melbourne

★★★★★ Time Out Sydney

★★★★½ The Age

★★★★ The Brag Sydney

“costumes with wit to die for” Kevin Jackson

 

 

Triangle

Nominated for 6 Green Room Awards including Best Set/Costume Design

 

“Almost every element in Tanya Dickson’s production is cleverly realised: the statuesque use of space…” Cameron Woodhead for The Age

“I love that designer Eugyeene Teh has made another corner of this warehouse inseparable from this work and that he uses carpet squares.” Anne-Marie Peard for Aussie Theatre

 
 

The Unspoken Word is ‘Joe’

★★★★★ Theatre People

★★★★ The Age

★★★★ Timeout

★★★★½ ArtsHub

“Eugyeene Teh’s consistently awesome and witty design…” Anne-Marie Peard for Aussie Theatre

 

NSFW

★★★★ The Age

“Eugyeene Teh’s set evokes a kind of loud elegance, and his costumes are perfect for every character. ” Ben Nuetze for Crikey

 

NOA

★★★★ The Age

“Eugyeene Teh’s set design was the other highlight.” Theatre Press

 

I Know There’s A Lot of Noise Outside but you Have to Close your Eyes.

“The best elements are the set design by Eugyeene Teh, an intriguing collection of many, many  chairs in a closed-in, black curtained hazed space” Kevin Jackson

 

Exil

★★★★½ Australian Jewish News Review

“Eugyeene Teh’s set and costume design turns her into a pitiable martyr..” Australian Jewish News Review

 

House

★★★★ Time Out Melbourne

“Eugyeene Teh’s transforming stage design was a welcome surprise…” Jason Whyte for Aussie Theatre

 

 

Elektra

“Eugyeene Teh’s design surrounds the playing area in transluscent plastic curtains, and the walls vanish: we are suddenly in a space without edges. Actors can be so close we could almost touch them, and yet, by merely stepping behind the curtain, are suddenly cloaked in an illusory distance, or loom behind the unobscured characters like uneasy ghosts.” Alison Croggon at Theatre Notes

 

 

Dracula_Mina

 

 

 

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