This unique and exclusive documentary opens the door to life at the Lyric Theatre in Hammersmith, west London, during summer and autumn 2017. DT+ goes behind the scenes to access all areas of the company, from their extensive young people’s programme to the key planning stages for their main house production of Anton Chekhov’s The Seagull.
Sound Designer Paul Arditti talks through his entire practice from inception, through rehearsals to the performance itself. He discusses the differences between designing for musicals and for plays, why the creative and technical facets of his role are really two jobs in one, and how technological advances allow sound designers to artistically react much faster as the production process develops.
Gareth Fry, sound designer, is one of the theatre industry's most innovative sonic specialists and is particularly known for his work with celebrated directors Katie Mitchell, John Tiffany, and Sacha Wares.
Lighting designer and teacher Geraint Pughe discusses training, both his own and his pupils, and reveals the three basic principles of lighting - understanding the space, creating mood and knowing how to use special effects.
John Leonard, freelance Sound Designer, journeys through a rich and transformational career, from hand held tape recorders, through founding the sound department of Bristol’s Old Vic theatre, to blockbuster West End extravaganzas.
Having trained at Mountview and Guildhall School of Music and Drama, Mic specialised in sound and has been creating theatrical sonic spaces for over 30 years. His sound design for The 39 Steps won the discipline's first ever Tony Award in 2009.
Mic walks us through his first steps in the industry, explains how a designer develops an aural palette during rehearsals, and opines sound as the primary design discipline within theatre.
Tarek Merchant discusses the technicalities of Musical Direction and explains how his role is a constant conversation with the composer, director, sound designer, musicians and cast. He expounds on the necessity to form a robust and shared musical vocabulary with the wider creative team, and explores the symbiotic relationship between the architecture of a production’s design and that of its music.
Francis O’Connor was set and costume designer for Gemma Bodinetz’s futuristic reimagining of Macbeth. Giving in-depth insights into his creative process, O’Connor reflects on the importance of imagery, and considers the role of collaboration with the director, as well as the acting company.
Director Timothy Sheader discusses his work on the award-winning production of Into the Woods at the Regent’s Park Open Air Theatre. Sheader explains why his choices were led by music more than words, as well as exploring the characterisation of these iconic fairy-tale legends.
Andrea J. Cox was responsible for creating the aural landscape in Phillip Breen's revival of Sam Shepard's True West.
Cox explains why the play's geographical setting is important to research, and reflects on the difficulties in translating abstract noise to a physical space.
Sound engineer David Palmer spends his time in the theatre listening. His job is to tune into the sound of the show and ensure that the balance and amplification is perfect, and that the actors and musicians feel confident with their vocal tone and levels.
Finn Pfeffer's involvement with The Soap Myth was not only significant as part of the sound crew; as the only German native on the production team, his perspective on the play is unique.
Finn offers an illuminating insight into the gulf between how Holocaust education is taught in different countries, and sheds light onto the soap myth itself.
National Jewish Theater