Past Productions -
A selection of our favourite stories:
We feel incredibly fortunate to share captivating stories alongside our amazing clients in breathtaking venues. Each collaboration brings a unique narrative to life, filled with creativity and passion. The magic of storytelling unfolds in spaces that inspire, allowing us to create unforgettable experiences together.
Our portfolio beautifully embodies the passion and dedication of our team, showcasing the artistry and enthusiasm that drives our work. Each moment captured reflects the essence of memory-making in real time, allowing us to preserve the joy and emotions that defines each event. Dive into our collection to witness how we transform ordinary moments into extraordinary memories,
The Show
A curated portfolio in six acts
These six events represent the work that became performances. Not the largest projects or the highest budgets, but the evenings where something shifted in the room. Where the guests stopped performing their role as guests and simply arrived.
That is the standard we hold ourselves to.
Curtain up.
ACT ONE
What If
Battersea Arts Centre Caiger & Co
May 2026
A&B delivered:
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Creative direction and concept development
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Four bespoke cocktails with mocktail mirrors
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Full room-by-room styling across four spaces
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Front-of-house team - Choreographed Emissary performance
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Bar programme and service - Printed storybook design
Photography by Kelly Powers
An immersive dining event in five chapters. Four bespoke cocktails with full mocktail mirrors. Choreographed Emissary service. Complete creative direction by A&B. The concept was built around a single premise: that every planner walking into Battersea Arts Centre that evening once knew someone who made the world bigger - a grandmother, an art teacher, an older sibling who turned cupboards into thresholds and rainy afternoons into expeditions. The corporate world buries that instinct. This evening was designed to let it back in.
We structured the night as five chapters, each named as an invitation - Come in, Come outside, Come and see, Come home - and the fifth, without a verb: Welcome back. The first four unfolded across three rooms as a walking reception. Each station was a small eruption of warmth inside a cool, moonlit building - layered tablescapes of sculptural florals, sand timers, and mango wood trays arranged over three-tiered fabrics, designed from the materials up to feel like a recovered memory.
The cocktail programme carried the emotional arc of the evening in the glass. A bottle-conditioned cider stirred with oloroso and caramelised bramble to open - autumnal, disarming. A gin and sage highball threaded with honey-black pepper for the garden brought indoors. A milk-washed sake clarified to transparency, the most contemplative pour of the night. And a rye whiskey with rhubarb-tarragon shrub to close - spirit-forward, ceremonial, the drink the evening had been walking toward. Every cocktail had a full mocktail mirror: same glassware, same garnish, same gesture at handover. The saline drop from a pipette on the final pour. The bay leaf torn at the rim of the first. Nothing was simplified. Nothing was lesser. The experience was identical because the intention behind it was identical.
Two members of our team - Lauren and Abi - performed as Emissaries throughout the reception, guiding guests between rooms in choreographed movement that visibly wound down as the evening settled. They moved through the Octagonal Room's arched architecture in period-inspired blue and white costume, crossing between stations like figures from a half-remembered story.
At the transition to dinner, they crossed to the doors of the Grand Hall and held them open. Each guest passed between them carrying a printed storybook of the night. The Grand Hall was dressed as the interior of the dreamer's mind - burgundy drape holding the walls, a single long serpentine table running the centre under warm pooled lamp light. Guests found their seat, opened the storybook to its final chapter - Welcome back - and read their own name printed in the credits.
ACT TWO
Bacchus at Outernet Outernet London
Bacchus
2025
A&B delivered:
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Sixteen senior waiters and four mixologists Bespoke cocktail programme
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Choreographed drinks reveal
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Styled drinks cart wine service
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Floor management and bar service
Photography by Kelly Powers
A stylised, choreographed dining experience for sixty guests. Bespoke cocktail programme featuring The Forager. A twenty-strong front-ofhouse team. Complete event styling inside one of London's most immersive venues. Outernet is a room that swallows you. Wraparound LED screens climb from floor to ceiling, and the first instinct for most guests is to look up and keep looking.
Bacchus asked us to make the human moments feel as deliberate as the projection - to give sixty guests a reason to look back down and into the eyes of the person handing them a drink. We provided a team of sixteen senior waiters and four mixologists, each briefed not just on the logistics of the evening but on the emotional register the room demanded.
The drinks programme centred on The Forager from our Verdant Collection - a non-alcoholic composition of foraged rhubarb and white tea, dryshaken to a soft foam and adjusted for the occasion with a dusting of rhubarb and custard powder across the rim. In coupe glasses, backlit by the shifting red glow of the screens, the garnish caught the light like something between confectionery and ceremony. The long table sat beneath a single sweep of red drape and candlelight, white linen pulled taut over the surface. At the head, a second drape fell behind the seat of honour - a deliberate frame within a frame. The team worked the floor in matching grey and sage, carrying wine from a styled drinks cart that moved between the tables rather than waiting at a fixed station.
The service was mobile, choreographed, designed so that no guest ever had to ask for anything - the cart arrived before the thought did. The reveal was the moment the evening turned. Our team assembled in formation at the far end of the room, each holding a drink at chest height. Behind them, the LED screens shifted into cascading green light - swirling, organic, alive. The guests turned to watch. The drinks were carried forward in unison, delivered one by one with a precision that felt closer to theatre than hospitality. Very theatrical. Very A&B.
Kelly Powers photographed the evening across both worlds - the monumental scale of the screens against the intimacy of the pour. His portraits of the team in the leather booths, drinks raised, the red light catching the edge of every glass, are some of the strongest images in our portfolio. They capture exactly the tension the night was built on: that a room this vast could still feel held, that technology this overwhelming could still be grounded by the warmth of a person who knows when to pour and when to pause. Branded menus in deep purple were placed at each setting - a quiet detail that guests picked up and kept. The evening moved between spectacle and stillness in a rhythm the room had never been asked to hold before.
That was the brief, and that was what landed: the feeling that the service did not compete with the screens but completed them.
ACT THREE
A Glamorous Conspiracy
The Lucas Studio London
July 2026
A&B delivered:
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Creative direction and character writing
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Two rehearsed and directed performers
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Full backstory, script and improvisation framework
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Bespoke costume build by our in-house designer
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Character props and the stash Choreographed reveal and evening arc
Photography by Frank and Suze themselves
The Lucas Studio came to us wanting something a guest would still be describing in the car home. What we wrote them was a couple. Frank and Suze - beautifully dressed, somewhere they shouldn't be, and completely at ease about it. Nobody at that party could say who they were or how they got in, and that was precisely the point.
The whole act lived in a gap. On the surface: two people of absurd glamour, tailored, masked behind dark glasses, clearly with somewhere better to be. Under the coat: mints, a lighter, a cold bottle of cola, a pair of flip-flops. What Frank and Suze ran was the party's black market - not contraband, just everything a guest didn't know they needed. Glamour was the setup. A packet of mints was the punchline. Neither of them ever cracked, and the grander they held themselves, the more funny the goods became.
We built them properly before the night: names, a history, the exact story of how they came by the stash. Ask either of them a question and the answer was already written, always in character. Her - sunglasses indoors, a headscarf knotted with intent, speaking rarely and only when it landed. Him - a coat too good for the weather, a salesman's warmth, doing the talking and the worse deals. Married a long time. Partners in something, definitely. They finished each other's patter and argued, without a word, about price.
The wardrobe was built by hand by Sowmiya Murukathash, one of our costume designers, over a dedicated two-day build. The brief to her was four words long: the 1950s, dressed for espionage.
The arc was designed as a slow discovery rather than a gag. They started in the one room nobody performs in - the washrooms - where guests met them off-guard and got a first glimpse under the coat. As the party opened up, so did they, moving out onto the floor. By the late hours guests were repeating their lines to each other before they had even met them, bringing friends over, asking to see under the coat, quoting the pair back to themselves. And then, sometime after midnight, they were gone. Nobody could say quite when. This is the part that cannot be faked, and it is the reason the evening worked.
A&B does not send staff in costume - we send characters, written, rehearsed and directed. Frank and Suze held strangers for five minutes at a time and left them wanting more, and they stayed in role from the first hello to the last goodnight. On the night they only performed and hosted. The comedy carried the whole tone of the evening, which is the outcome we were briefed on and the hardest one to guarantee. A room does not decide to find something funny because it was told to. It decides because two people committed to a bit with absolute seriousness and never once looked at the audience to check it was landing. That is acting, not hospitality - and it is the clearest statement of what A&B actually is.
ACT FOUR
A Midsummer Night's Dream
Golden Goose Theatre
The New Rep
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A&B delivered: Sensory cocktail station design and build
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Two bespoke cocktails and one colourchanging mocktail
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Full bar service
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Event styling Printed menu design Scent-led experience architecture
Photography by Kelly Powers
A sensory cocktail experience designed for the opening night of A Midsummer Night's Dream. Two bespoke cocktails, one colour-changing mocktail, and a bar that appeared from nowhere while the audience was watching the play. The audience had spent two hours inside Shakespeare's enchanted wood. Our job was to make sure they didn't leave it.
The New Rep's opening night needed a postshow reception that carried the atmosphere of the play beyond the stage and into the glass - not as a gimmick, but as a continuation of the experience the audience had already committed to. Fifty guests in an intimate theatre. The line between performance and hospitality had never been thinner.
We built a single station in the theatre bar while the play was still running - a round table dressed as a living forest floor. Moss, trailing greenery, scattered roses, candles, and fruit arranged around the drink-making area so that the team built every cocktail inside the installation itself. When the audience emerged from the auditorium, the bar was simply there - as if it had grown from the floor during the final act. No setup visible, no transition. The enchanted wood had followed them out.
Three drinks, each named for the play. Oberon's Crown - Glenmorangie Scotch stirred with Cocchi Vermouth and Amaro Montenegro, finished with orange bitters and a sprig of torched rosemary that sent smoke curling across the glass. Titania's Kiss - Hendrick's Gin shaken with Lillet Blanc, lavender syrup, and an elderflowerrose cordial, served with an edible flower and a gold glitter rim that caught every light in the room. And Puck's Prank - the mocktail, because mischief has never needed alcohol - lemon and cucumber syrup shaken with mint, apple juice, and ginger beer, finished with a butterfly pea extract that changed colour as the guest watched. A trick worthy of the character.
The intimate setting worked in our favour. In a space that small, the scent from the bar carried through the room - the torched rosemary from Oberon's Crown, the lavender from Titania's Kiss, the fresh mint from Puck's Prank. Before a guest had ordered, they were already inside the experience. The senses arrived before the glass did. A printed menu in A&B house style sat at the station, but most guests chose by what they could smell rather than what they could read.
Guests didn't queue at a bar. They arrived at a scene. The station was designed to be touched, smelled, leaned into - a sensory threshold between the auditorium and the night outside. The theatre's blue walls and leather booth seating, its framed posters of past productions, became part of the backdrop rather than competing with it. The enchantment held. People lingered not because of the drinks alone, but because the room still felt like the play.
This is the event where the two halves of A&B met most visibly. We are a company built by actors who moved into hospitality. The line between performance and service disappeared entirely, and that - for us - is the highest compliment the work can receive.
ACT FIVE
Field and Larder Keythorpe Manor April 2026
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A&B delivered:
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Event planning and creative styling
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The Verdant Collection - three original compositions Foraged ingredient sourcing
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Bar programme and service
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Front-of-house team
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Operations coordination
Photography by Kelly Powers
Event planning, creative styling, and the premiere of Act One of our Cocktail Repertoire - The Verdant Collection. The evening that proved the production infrastructure we had been building was ready.
Field and Larder wanted their guests to taste where they were standing. The event at Keythorpe Manor - exposed brick, vaulted timber, the Leicestershire countryside visible through every window - needed a drinks programme that felt drawn from the land rather than delivered to it. Nothing in our existing repertoire met that brief, so we wrote something new.
The Verdant Collection became Act One - The Overture of our Cocktail Repertoire. Three compositions: The Beekeeper, built on Cotswolds single malt sweetened with British honey and finished with a torched rosemary sprig that sent a thin curl of smoke across the glass before it reached the guest. The Gardener, a gin and elderflower highball crowned with a cucumber ribbon and fresh mint, bright and clean and entirely at ease in the room. And The Forager - a non-alcoholic interlude of foraged rhubarb and white tea, dry-shaken to a soft foam and crowned with a single edible flower.
Nothing on the menu arrived by accident. The elderflower was foraged by hand from the hedgerows around Keythorpe. The cucumber was picked and pressed the same way. The rhubarb was lifted directly from the evening's food menu and reimagined in the glass. A provenance note on the printed menu told guests what they were already tasting - that the ingredients came from the ground beneath the building, not a wholesaler's van. They tasted the landscape before anyone explained it, and that was the point.
Bex led the planning and creative styling from first concept through to the room on the day, shaping a space that felt like an extension of the countryside rather than a stage set placed inside it. The drinks were served in glassware chosen to suit the pour - coupes for The Forager's delicate foam, highballs for The Gardener's long finish, heavy tumblers for The Beekeeper's warmth. Each drink arrived in its own context, and each guest received the same unhurried attention whether they chose alcohol or not.
This was also the first event where Laila stepped into her role as Operations Coordinator - running the logistics, managing the deputy bookings, and proving that the production infrastructure we had been building behind the scenes was ready to hold weight under pressure.
The evening ran without a single visible join. That is not luck. That is the result of months spent building systems designed to disappear on the night. Kelly Powers captured the textures that made the evening land - the torched rosemary mid-flame, the edible flower settling on the foam, the timber and brick framing every pour.
ACT SIX
Solaris
Battersea Arts Centre Caiger & Co
July 2026
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A&B delivered: Creative direction and run of show
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Elemental and lunar styling direction
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Four serve cocktail programme and full bar
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Twelve front of house and six bar and mixology
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Eight-strong kitchen brigade sourced and managed
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Live prosecco wall and spirit service
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Directors on the floor throughout
Photography by Kelly Powers
Three hundred guests, a single grazing table running through three acts, and a bar built to hold the room steady. Creative direction, styling, front of house, bar programme and kitchen brigade - all under one team. Synthesia's summer party asked for a room somewhere between the cosmic and the earthly. We gave them moss, stone and herbs laid across the table beneath an illuminated lunar sphere, with mirror and silver catching every light in the building.
The night ran through a single grazing table in three acts. Earth opened it - a living landscape of forest garden crudites, ancient-grain garden pots and elemental charcuterie laid into moss and stone. Then Fire, as the light warmed and hot dishes emerged from the same surface the cold ones had occupied an hour before. And finally Moonlight, when mirror, dry ice and silver took the table for dark chocolate soil pots, lemon meringue meteors, coconut moon macarons and berry galaxy tarts. One table. Three worlds.
The transformation happened in front of the guests rather than behind a service door. A scent layer ran through the room - diffusers set into the moss so the night carried a signature note as well as a look. It is the detail nobody consciously registers and everybody remembers. Guests described the room afterwards in terms of atmosphere rather than decoration, which is exactly the outcome scent is there to produce.
We directed and dressed the space against Synthesia's own palette of black, gold and silver, layering the elemental and the lunar over a brand identity rather than across it.
The bar was where it all came back down to earth. Four serves, built on premium and sustainable spirits - Cazcabel, Cointreau and Sapling's organic range - alongside a live prosecco wall and two hundred spirit singles. Spicy margaritas with chilli and lime. Palomas with pink grapefruit. Aperol spritzes poured without pause. And a homemade lavender lemonade for anyone staying grounded, made in-house rather than bought in, because the guest who isn't drinking should never be the guest who gets the afterthought. That was the emotional function of the bar on a night this ambitious: a drink in the hand to steady a room designed to sweep you off its feet. Everything else about Solaris was deliberately disorienting. The bar was the one familiar thing in a room this far from earth - poured by our own team to the same standard you would find at any A&B bar, on any night, anywhere.
We ran it across the board: creative direction, styling, the front-of-house team, the bar and cocktail programme, and a kitchen brigade we sourced and led to Caiger & Co's menu. Twelve of our signature waiting staff on the floor, ten circulating and two senior anchoring the food stations. Six across the central and house bars. Eight in the kitchen. Both directors worked the night live - one front of house, one on the bar - because on an event of this scale the direction has to be in the room, not on a radio in a back corridor. Late on, usherette trays of mini burgers and loaded fries moved through the room and the DJ took it from there. The evening loosened, as it was always designed to. That transition - from a curated three-act experience into a party that ran itself - is the hardest thing to engineer, because it has to look like nothing was engineered at all.