When Arts University Bournemouth (AUB) graduate Lucy Murray took to the stage to collect her first-class honours in BA (Hons) Design for Costume and Performance, it capped off her extraordinarily successful undergraduate experience, marked by earning both the top academic accolade in her department and a high-profile professional commission.

Alongside receiving the Dean’s Prize for her exceptional student contribution and academic performance, Lucy was also awarded AUB’s competitive Graduate Performance Design Award, a scheme that provides a launchpad for outstanding alumni by commissioning them directly into professionally led roles.

Under paid commission, Lucy’s leading the set and costume execution for AUB Theatre Productions’ upcoming staging of 1984, collaborating with professional directors, third-year BA (Hons) Makeup, Hair and Prosthetics students, and student design assistants from across the university.

Lucy initially enrolled in BA (Hons) Film Production at AUB before pivoting in her first term, when she realised her true passion lay in live performance.

“I dropped out after three weeks on that course,” Lucy shares, “I designed the set for my old school's musical the summer before uni and realised I liked seeing everything all on stage at once. I prefer the live atmosphere of theatre and the direct impact it gives people.”

Her search for impactful, thought-provoking drama naturally drew her to George Orwell, first as an actor in Animal Farm years prior, and later as the set designer for AUB Theatre Productions' autumn 2025 staging of Animal Farm.

Now, Lucy’s continuing the Orwellian thread by turning her scenographic focus to his dystopian masterpiece, 1984.

“I'm really drawn to theatre that makes people leave the room thinking about what they’ve watched. With 1984, the text is far more fragmented and chaotic compared to Animal Farm.

“For Animal Farm, the set was very fixed – the audience were the surveillance. But for 1984, everything is on wheels to shift between locations, and the audience themselves are being surveyed.”

Four performers in distressed workwear pose around a person on the floor under stage spotlights, with a dark industrial set and metal fencing in the background.

A person stands behind a graffiti-covered wall with the words “ARE EQUAL BUT...” painted in red and black.

Actors sit on a stage set for Animal Farm, with a painted banner hanging at the back and audience seating along the left side.

A graduate in a black gown and mortarboard holds a certificate and a bouquet of flowers outdoors, with a university building and greenery in the background.

Lucy’s recognition with the Dean’s Prize follows three years of exceptional self-direction and ambition. Course Leader for BA (Hons) Design for Costume and Performance, Will Hargreaves, nominated her after observing a level of professional maturity rarely seen at undergraduate level.

For her final major project, Lucy created set and costume concepts for a hypothetical full season across all three venues at the National Theatre, undertaking three complete, distinct production designs alongside another design project for the student-led Theatre Society production of Bloody Poetry.

Will comments, “Lucy’s major project alone demonstrates an extraordinary level of ambition and creative capacity.

“Designing an entire season for the National Theatre’s three venues is a feat far beyond expectations. Her ability to shift between conceptual thinking and detailed, technical execution shows a creative fluency that is both rare and deeply compelling.”

Six people stand side by side in dark, layered clothing against a plain grey background.

A full-length character illustration of Lucy Murray wearing dark clothing and a cap, standing against a grey textured background with wing-like shadows and the text 'Bloody Poetry' and 'Bysshe'.

A fashion illustration of a woman in a dark jacket and pleated skirt, standing against a grey background with shadowy arms behind her and the title Bloody Poetry Claire at the top left.

Three adults in dark clothing stand on a dimly lit stage, each holding a suitcase.

A damaged stage set resembling a multi-storey building with railings and windows, surrounded by overturned beds and mannequins under dim lighting.

A dark theatre stage shows a damaged multi-storey set with ladder-like beams, lit by a single overhead lamp and a small central room below.

A small dark wooden hut stands on a stage-like platform among tall bare tree trunks, lit by two spotlights in a forest scene.

To realise her ambitious stage concepts, Lucy actively sought out cross-disciplinary skills, attending classes with BA (Hons) Architecture (Part 1 RIBA/ARB) students to master 2D drafting software like AutoCAD.

“They were all making houses and I was drawing fake tyres and furniture,” she laughs. “I felt a bit of imposter syndrome, but it was so helpful.”

Environmental considerations also sit at the heart of Lucy’s methodology. From sourcing materials at local scrap stores for her mini model boxes to repurposing existing stock for main stage shows, her approach prioritises intelligent resourcefulness.

“For Animal Farm, we made prop potatoes out of scrap foam and reused gauzes from the prop store. For 1984, we're reusing metal shelving units and filing cabinets from storage. I always think of how to achieve maximum impact with minimal waste.”

Looking past the autumn production of 1984, Lucy’s actively building her future in the industry. Beyond targeting major platforms like the national Linbury Prize for Stage Design, she’s been reaching out to working set designers directly via Instagram, pitching for assistant roles and making valuable contacts before she graduated.

Her advice for prospective students looking to find their own path in the creative arts is simple:

“If you're on a course and it doesn't feel right, it doesn't feel right for a reason. I changed course, had the best three years of my life, and found exactly what I wanted to do.”

You can see more of Lucy’s designs on her Instagram, @lucymurraydesign.