Kim’s Convenience
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The biggest standout of Kim’s Convenience is the set design by Mona Camille. It is incredibly visually pleasing, bright, colourful and just an all-round joy to look at – even before the show has started. It looks like a genuine convenience store, but not just any convenience store.
To be specific, it looks like the kind of convenience store that people drive hours to get to just to make TikTok videos of because it is that exciting!    
– Kate Soper, Westendbestfriend

One of the greatest highlights of this show is the design. Mona Camille provides the audience with an incredibly realistic set of a convenience store
– David Robinson, The Spy In The Stalls

Mona Camille’s set is such an exact replica of a local supermarket, with its lotto card advert, drinks fridge and linoleum-covered aisles, it is its own wonder. The delight is in the detail, right down to the sound of the electric bell as customers enter an invisible door.
– Arifa Akbar, The Guardian

The set needs to be spoken about. Designed by Mona Camille, no details are spared in recreating the convenience store. Down to the Lays crisps, energy drinks and chocolate bars, it really was like walking into your local shop and it takes full use of the space in Park Theatre.
– Bronagh, Theatre and Tonic

Mona Camille’s extensively detailed design doesn’t skimp in its execution of recreating Mr. Kim’s shop, with fully stocked counters and brilliant details painstakingly realised. A truly fantastic set design whose only flaw is the temptation it invokes in audience members to want to grab a chocolate bar from the stage.
– Daz Gale, All that Dazzles

Esther Jun’s production is well-paced, and unafraid of the silences that often fill the shop, which is beautifully rendered in Mona Camille’s hyper-realistic set.
– Theo Basanquet, Whatsonstage

Partly this is down to Mona Camille’s forensic corner shop set design, which stacks the shelves of the eponymous shop with ramen packets, Korean crisps and containers of kimchi. Drink fridges glow with a luminescent buzz and the walls are accessorised with phone sim posters and brand advert stickers: it is such a graphic replica you almost feel like you could wander in and buy something.
– Any Ryan, Timeout

The set is designed by Mona Camille, and it’s fantastic. From the fully stocked shelves to the slightly grubby floor, this feels like everyone’s local shop – we have absolutely all been in one of these places, and most of us probably routinely go to one to get our bits and pieces. So there’s a comforting familiarity to it all that allows the audience to settle into the story much more quickly. We know what’s what.
– These Theatre Thoughts

Mona Camille’s design was impressively detailed—a fully kitted-out convenience store, from stacks of ramen to the ding-dongs that reminded me of entering a konbini in Japan (although don’t let Mr Kim hear me say that). It created a genuine sense of place that the actors moved through naturally, adding texture and realism without ever pulling focus from the performances.
– a youngish perspective

The convenience store itself – wonderfully brought to life by set designer Mona Camille – offers a feeling of universality and familiarity, furnished as though it could be a corner shop just about anywhere in the world.
– Rebecca Maher, Jadar UK

The excellently designed set (Mona Camille) automatically places you into the shopfront, the recognisable familiarity leaning into the family focused show.
– ratedreviewed
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The Meat Kings! (Inc.) of Brooklyn Heights

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The production looks the part, too, on Mona Camille’s set, where convincing slabs of meat are sliced with precision or rubbed in an eye-watering amount of salt and carcasses swing from the ceiling.
– Holly O'Mahony, The Stage

The set, designed by Mona Camille, is both brilliant and simple, as sides of meat hang from the ceiling. Plastic strips covering the doorway add to the clammy atmosphere and authenticity of the narrative.
– Brian Penn, Westendbestfriend

Mona Camille’s spare set of stainless-steel tables and hanging meat lets the innate violence of the space – and in turn of America, and its most desperate inhabitants – speak for itself...
– Lucinda Everett, Whatsonstage

Larger cuts hang above the cutting tables on Mona Camille’s set, like props from a horror movie: a reminder that these characters daren’t look up to see what’s bearing down on them.
– Nick Curtis, The Standard

Mona Camille’s set is a striking depiction of a naturalistic cutting room. Stainless steel dominates the stage, while animal carcasses hang from the flies. The cast works through slicing off solid gelatine that can indeed look like flesh 
– Cindy Marcollina, Broadway World

Mona Camille’s design and Bethany Gupwell’s lighting create a visceral atmosphere
– Greg Stewart, Theatre Weekly

Upon entering the auditorium, the immersion began instantly. Audiences were funnelled through the clear plastic strip curtains of a walk-in refrigerator, the kind you’d find in a busy butcher’s shop. We were greeted by sides of meat hanging ominously from hooks above us. At centre stage stood two gleaming stainless-steel cutting tables, spotless and sinister in their anticipation of the fresh slabs soon to be carved. It was a striking and clever way to plunge us directly into the world of meat.
– Bernadette Lintunen, London Theatre 1
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How to Fight Loneliness

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Everything unfolds against Mona Camille’s set, a desolate landscape that materialises death. Sandy and dusty, homeware and naked shrubs coexist. It’s a Beckettian visual, striking in its symbolic impact.
– Cindy Marcolina, Broadway world

Mona Camille’s design renders the cinematic quality of a second act, set in a desolated highway location.
– Emma John, The Guardian

Mona Camille’s set design is simple and flexible, transforming into both a modern living area or a deserted savanna. This transports the characters from the comfort of their own home to a boundless space with ample hope and opportunities. It is in this empty space that Jodie decides to take her last stand.
– Xi Ye, Everything Theatre

Mona Camille’s set design sees an arid desert landscape house a minimalist, stylish living room. Perhaps a remark on Jodie’s lack of quality of life, or on the conversation, likely months in the making, now laid entirely bare.
– Miriam Sallon, Whatsonstage

Mona Camille’s set is a dusty wasteland strewn with angular welded shapes and bracketed by two leafless trees. It recalls the scenario for Beckett’s Waiting for Godot, and this play about death is also a Beckettian assertion of the life force,...
– Nick Curtis, The Standard

Mona Camille’s expressionist set places the action on a desert-like hinterland that may represent the wild west of assisted dying in this unspecified pocket of the US where it’s banned. Or perhaps it resembles Jodie and Brad’s barren future. Nothing is as it seems here: a rock houses a well-stocked bar, and hard-looking steps are referred to as a comfy couch.
– Holly O’Mahony, The Stage

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Milk & Gall

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The play unfolds in a Brooklyn apartment, which looks impressively accurate (designer Mona Camille has a sharp eye for detail)...
– Miriam Gillinson, The Guardian

Mona Camille's thoughtful and multifunctional set design doubles up as a hospital room and as a living room.
– Nikita Karia, The Stage