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.
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.
Rob MacLachlan, Projection Designer, 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-facetted viewpoint through which to realise the true curiosities of an object or building.
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. She explains how programming differs from, but can cross over into, lighting design, why part of the role of a programmer is to take the technical pressure off the designer, and that a lighting programmer is neither fully crew, nor creative, but stands with a foot in both camps.
Jono Kenyon is part of the electrics team that make real the work of the lighting designer. He talks about his passion for the job and how he began working in 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.
Robin Fisher chats about the role of his team and the part he plays in it. He talks about the work that goes on during rehearsals, a run and when the theatre is dark (empty of a show).
Lighting designer Johanna Town worked on Talawa Theatre Company’s 2016 production of King Lear. Here, Town gives detailed insight into the process of lighting a production.
Artistic Director Michael Buffong directed Talawa Theatre Company’s 2016 production of King Lear at the Royal Exchange. Here, Buffong considers his creative decisions, giving first-hand insight into a director’s process.