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.
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.
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.
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.
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.
Carrie Cracknell discusses her role as Director in the critically-acclaimed production of Henrik Ibsen's A Doll's House.
In this interview, Cracknell provides an invaluable insight into the processes of rehearsing a play, and considers how extensive research allowed her to gain further context and inspiration for the production.
Artistic Director of the Liverpool Everyman, Gemma Bodinetz, directed David Morrissey and Julia Ford in a futuristic reimagining of Macbeth. Bodinetz explores the multi-dimensional nature of the central couple, and reflects on the inherent challenges – as well as the inevitable joys – of producing Shakespeare.
Far from the Madding Crowd director, Kate Saxon, discusses her work in rehearsal and the creative challenges involved in bringing Thomas Hardy’s classic novel to the stage.
The artistic director speaks to us about his approach to King Lear, his vision to strip down the play, focussing closely on Shakespeare's text and the innermost wants and desires of the characters caught up in this domestic and political struggle for power.
Sir Michael Boyd was at the helm of the RSC for 10 years and as Artistic DIrector established an ensemble of actors that made work with him over that time. One of his final productions was As You Like It. He discusses its fascination.
Paul Hunter is the artistic director of the acclaimed theatre company Told By An Idiot. He chats about the collaboration with the RSC and his work on The Comedy of Errors.
Actors Touring Company Artistic Director Ramin Gray discusses his experience directing Mark Ravenhill's visceral play Over There.
From his Brechtian background to discovering new playwrights and the thrill of making a mess on stage, Ramin illuminates the complexities and quirks of life as a theatre director and his focus on new writing.
Director and writer Tony Graham talks about making his production of Billy the Kid for the Unicorn Theatre and adapting the original novel by Michael Morpurgo.
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.
Designer Robert Wilson talks to Richard Strange at A Mighty Big If at the House of St Barnabas, offering a rare and personal insight to an exceptional life.
The Salon Project : a new music theatre event inspired by the rituals of the 19th century salon.