This is one of my two websites. The other one is here and covers my work as a theatre-maker, scenographer and visual artist. If you want to find out what I do, that’s the place to go. I used to post articles there too, but who goes to a theatre designer’s website to read? So I’m gathering them here instead.
For a while now, my studio-mate, Simon Daw, and I have been eyeing up the studio the other side of the partition in our shared space at Bow Arts. For one thing it doesn’t have a a fire route from neighbouring studios running through it. For another, it has real windows that you can see through, rather than glass bricks.
Anyway, the occupants recently moved downstairs to a ground floor space, and we managed to get in quick. We had to move everything in a hurry, as both of us were going to be out the country at the end of the month when the space officially changed hands. It took well over a day just move everything. Then, after our respective travels, we had to sort through it all. It was a daunting task. Two stage designers, whose work spans visual art, with quite a significant tech competent, are capable of collecting a very significant amount of stuff over the years. Continue reading
(Originally published in Blue Pages, the journal of The Society of British Theatre Designers)
Having seen Northern Ballet’s 1984 both on TV and on stage at Sadler’s Wells, I was intrigued by what kind of relationship the filmed version had to the live production. I discussed this with the choreographer, Jonathan Watkins, and the designer, Simon Daw. Jonathan is a former dancer with the Royal Ballet, and has a long-term working relationship with Simon, including collaborating on As One for the Royal Ballet. As Jonathon’s working in New York, we talked by email and voice message. This is an edited version of that conversation.
PB: There have been many different attempts to reimagine 1984, both for stage and screen. What were the main ideas that defined your interpretation? Continue reading
My personal projects always seem to take ages to get off the ground. I suppose this is because all the work that leads up to getting funding has to happen in the gaps between everything else, not least designing shows for other people. Which I love doing and I get paid for. I’m not complaining. Still, getting a project underway takes a while and this one is taking even longer.
I had the idea for a project about English radical history around eight years ago, I think. At any rate, it was while I was directing A Place at the Table. Our stage manager at the time, Peter Barnett, was another fan of folk music. I remember discussing the exciting new idea with him, so I can roughly date it. This was also roughly around the same time as the Black Smock Band emerged from a series of gay folk nights in Vauxhall. A lot has happened since, with the far right seemingly in the ascendent, but even then it felt as though the narrative of dissent and radicalism in English history needed a bit of rescuing, from all that nonsense about how the Empire wasn’t so bad really and migrants are ruining our way of life. (Quite how you can hold both beliefs at once I don’t know. Anyway.) A major part of what we do as a band is explore the links between then and now, often updating traditional songs to explore their resonances to our contemporary social or political situation. Oh and making them less bloody heteronormative. It made sense to bring these two things – the band and the idea of a performance around English radical history – together. Continue reading
I wasn’t a passionate supporter of the EU until the referendum made me stop and think. The thing I really valued highly was my European citizenship. The freedom to travel and to work in the EU. The sense of being part of of an expanding world. Of taking a small step towards that Star Trek dream of united Earth. But I could see that the Union’s democratic structures were as flawed as the UK’s, that the Euro was being torn between the very different economies of the richer and poorer nations, and that sometimes the bureaucracy could slide into absurdity. Plenty to criticise. Plenty to reform.
Then came the referendum. So I did my homework and it swiftly become evident that it was overwhelmingly in our best interests to remain. Not only because of the direct political and economic benefits to the UK but also the strategic benefits in the fight for social justice. Chief among these was that a Leave result would fuel the fanatics: not just the anti-European ones but the racists, antisemites and Islamophobes. Other forms of bigotry too, no doubt. As for the UK’s political and economic interests, the reasons have been given thousands of times in thousands of articles. The Guardian seems to be running several post-mortems a day in its opinion section. I’m not going to go over all that again.
Instead, I am going to talk about my personal experience. Why? Because I want you to know that we’re not enemies. And then I want to talk about how we can move on. Politicians and media alike have painted us as opposites in some kind of culture war. I disagree. I think we’ve fallen out over a big misunderstanding. Continue reading
I wrote a piece for the National Theatre Wales Community Blog about my work for Light Waves Dark Skies by We Made This. There’s a one-off performance at Pontardawe Arts Centre, tonight. PAC was also a partner in making the project. Then next week we’re at Chapter Arts Cardiff.
It’s a lovely show (I’m biased, but I think I’m right about this!), about the sea, star-gazing and dealing with loss. The blog’s about my design process. Here’s a link: Continue reading
My main occupation is scenography. I design sets, costumes and video for performance; mainly new writing and devised work. I love the collaborative nature of theatre but I think it’s important to maintain a personal fine art practice alongside it, not necessarily for public exhibition or sale but in order to keep asking myself who I am as an artist and what I have to offer my collaborators. So when it came to finding something to show at Bow Arts Open Studios 2016, I decided to share some of this work. Continue reading
I feel as though I should write something personal to explain why I’m so hurt and bewildered by what has just happened. Especially since plenty of people seem to think folks like me should shut up. In the lead-up to the vote I focused on facts; on the direct disadvantages of leaving and the possible political consequences. I didn’t make it personal; I’m involved with politics because I care about our country and the wider world. I would never normally make the kind of argument I’m about to make now. I’m even going to try, for once, to resist discussing the bigger implications. But these are exceptional times.
Firstly, however, let’s remind ourselves that this wasn’t an election for politicians who can do only limited damage over only a limited period; it was a decision with massive, long-term ramifications. These are not only political. Many of the consequences put severe limits on our personal freedoms; so for those of us who embraced those freedoms, the decision to leave the EU restricts the way we live our lives and, as I’m going to argue, is a kind of censoring of the way we see ourselves. Continue reading