Celebrated director and scenographer Pamela Howard gives a history of scenography in practice, including insights into the early days of the Prague Quadrennial. She explores the political and artistic importance of international collaboration and discusses in detail her seminal book, What is Scenography.
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.
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.
Lighting Designer, Natasha Chivers, discusses the great variety of venues she has worked with over the years, how the discipline itself has developed so rapidly, and the impact that technological advances have had on the creative and collaborative processes between designer and director.
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.
Victoria Brennan, freelance lighting programmer, reveals how faking a technical interest to impress a college crush led to being trained by the RSC as an in-house programmer, and a subsequent life-long career.
Projection designer Rob MacLachlan discusses the multidisciplinarity of his craft and how his sculptor’s background has shaped the way he approaches all ‘kinetic objects’, including actors. He talks through the process of creating a pause in the rapidity of the way we see things and constructing a multi-faceted viewpoint, through which to realise the true curiosities of an object or building.
Sound designer Mic Pool has worked on over 350 productions and established significant relationships with renowned theatres and companies including West Yorkshire Playhouse, the Royal Court, and Ballet Rambert.
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.
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.
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.
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.
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.
Designer Colin Richmond discusses his work on set and costumes for Nikolai Foster's 2013 production of Jonathan Harvey's seminal play Beautiful Thing.
Working with a different director on each job and creatively resolving how to use a small space are just some of the challenges Colin describes as key to the multifaceted and hugely varied life of a theatre designer.
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.
Designer Ian MacNeil discusses his role on Carrie Cracknell’s critically-acclaimed production of Henrik Ibsen's A Doll’s House.
MacNeil focuses on the practical craft of theatre design, and considers his contribution to dictating the rhythm of the story performed on stage.
Hensel chats about the collaborative nature of the creative design process and how she developed the ideas that ultimately 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.
Peter Mumford was the Lighting Designer on Richard Eyre's award-winning revival of Ibsen's Ghosts.
Peter sheds light on how a Lighting Designer works in collaboration with the rest of a theatre company, describes how technological advances have changed the industry, and discusses his thoughts on establishing a career in a field that wasn't formally recognised until the 1950s.
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.
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.
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