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.
Adrian Lester talks to Digital Theatre+'s Creative Producer about the roles and industry realities he has encountered in his career, from speaking without words to walking in women's shoes. Lester explains how drama school teaches aspiring actors about graft, how mastering Taekwondo helped focus him as a performer, how roots aren't necessarily geographical, and how he will always, ultimately, return to the stage.
Having trained at Central Saint Martin's, Katrina has created work for some of the most successful theatrical productions of the last decade, including Harry Potter and the Cursed Child, Wonder.land, and Les Liaisons Dangereuses.
Bob Crowley, scenic and costume designer and theatre director, has worked in the industry for 40 years and is particularly renowned for his extensive work with the RSC and the National Theatre.
Having worked in Theatre Clwyd's costume department for 25 years, Michal understands the importance of developing a cross-departmental raport and 'evolving' with a building and its inhabitants.
Here, she discusses what initially drew her into the world of theatre costume and how a cutter negotiates between period, design, fabric, performance requirements and actors' tastes.
As a costume supervisor Lynette Mauro works very closely with the production designer and wardrobe team to support the creation of costume designs into clothes that characters wear on stage.
As wardrobe mistress Faye Michel is part of the costume team and works closely with the costume supervisor, dressers and actors. She discusses her work and how she began in the theatre business.
Behind the scenes of Private Lives another drama goes on. Head of Wardrobe Paula McIntosh chats about the tasks that she and her team carry out to ensure that there are no mishaps.
Award-winning theatre designer Anthony Ward talks about what motivates him to create his work, the challenges of the job and adjusting to working with new technology.
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.
Merle Hensel chats about the collaborative nature of the creative design process and how she developed her ideas that shaped the visual landscape for Lovesong.
Designer Michael Vale illuminates the theatre design process and discusses the creative challenges he faced working on The Comedy of Errors with the RSC.
Tom Piper, Associate Designer of the RSC, talks to us about his role in creating a production. He speaks in depth about the research that goes into creating a world on stage and the training, skills and experience required to design a stage production. We learn of the importance of the design role to the storytelling process and his intention to allow the tale to unfold over time.
Tom Scutt takes us through the creative challenges of designing a play as epic as King Lear in the intimate space of the Almeida Theatre.
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.
Max Jones was the set and costume designer on Phillip Breen's revival production of Sam Shepard's True West.
Jones shares his experience of having a multifaceted creative role and details how the American road movie genre inspired him to produce a filmic aesthetic within a theatre space.