“...a theatrical masterstroke”
Sydney Morning Herald for A Room of One’s Own

“The production’s aesthetic is, quite frankly, divine”
The Music for Chimerica

“ For my generation Noel Coward has never looked so good”
The Australian for Blithe Spirit

“David Fleischer’s set, video and costume design truly makes this a show for the new generation; its multimedia aspect is innovative and incredibly fitting”
State of the Art for Fangirls

“Visually, there is superb evocation in material and form to frame the story”
Artshub for Playing Beatie Bow

“David Fleischer’s designs are superb — his eclectic costumes are as flashy and grotesque as the piece demands”
Daily Review for Calpurnia Descending

“A stellar production of this demanding, thought-provoking play”
Artshub for Top Girls

“...set by David Fleischer, this is the funniest, most emotionally persuasive and handsome of the productions of the play I’ve seen”
Jason Blake for Top Girls

“Flawlessly designed, the show looks and sounds magnificent. David Fleischer’s sets, Nick Schlieper’s lights and Renée Mulder’s costumes, form an impeccable collaboration delivering theatrical grandeur, with a pervasive and melancholic nostalgia best described as beautiful”
Suzy Goes See for The Harp In The South

“David Fleischer’s elaborate set design is fabulous. In the second hour, the scaffolding used to portray the Darcy home in Plymouth Street is almost worthy of cheering before the actors have spoken a word”
The Saturday Paper for The Harp In The South

“The production itself is a visual feast. Part One is all two-storey structures, moved by cast and crew to form varying aspects of the Darcy house, the street, the pubs and Delie’s whore house. Sparse geometric forms and equally sparse but naturalistic furnishings (including a cranky wood stove with a life of its own) fill the stage with diverse points of view and focus. One minute grim and forbidding, the next, ablaze with colour and gaiety, Part One is a dynamic contrast to the bleak, abstract of Part Two which is characterised by emptiness. Both represent breathtaking work by set designer David Fleischer”
Stagenoise for The Harp In The South

“By the end, not only has our admiration for RGB soared but Mitchell, Miller, Jackman, designer David Fleischer, lighting designer Alexander Berlage and composer/sound designer Paul Charlier have all excelled in helping make her wisdom engrave itself on our souls.”
Sydney Morning Herald for RBG; Of Many, One

“Williams's staging, along with David Fleischer's simple yet striking set design, make for a captivating and stunning piece of theatre”
Sydney Morning Herald for Love and Information

“...sophisticated and ingenious AV design”
The Australian for Fangirls

“I don’t know where to look, it is a visual feast!”
Theatre Now for Fangirls

“The visceral nature of the score, and the raw unwavering energy of Bonachela’s choreography is held in balance by abstract stage design...This stunning creative collaboration and its tender exposure of the things we hold dear in our most vulnerable moments is a spectacular return to the stage for the SDC”
Timeout for Impermanence

“A Bold and attractive show”
Sydney Morning Herald for Impermanence

“David Fleischer’s set captures the play’s progressive realism...This dazzling production leaves you painfully aware of how strongly the issues in the play still resonate”
Limelight for Top Girls

“Brilliant. Beautiful. As relevant now as it was forty years ago”
Stagenoise for Top Girls

“David Fleischer’s set ensures each scene plays out stylishly”
Theatrepeople for Top Girls

“The set and lighting design are both simple and exquisite”
The AU Review for Fury

“Murray-Smith’s familiar style of whip-smart dialogue and ever-so-slightly heightened realism is matched perfectly by designer David Fleischer’s setting”
Deborah Jones for Fury

“David Fleischer’s design brings beauty, both raw and refined, to the stage...”
Suzy Goes See for The Golden Age

“a stylish and vibrant humanist tapestry from this challenging text, augmented by clever modular set design .... It’s intellectually and emotionally probing theatre”
The Australian for The Golden Age