It was a great project, not just because of the lovely final show but also because the process was so open and democratic, and we really got to experiment. I really pushed myself as a result, and I think that showed, particularly in the video design.
Light Waves Dark Skies at Chapter Arts, Cardiff.
A We Made This Production, co-produced by Pontardawe Arts Centre
We Made This: Matt Ball, Katie Bingham, Paul Burgess, Catherine Dyson, Jacqui George, Gwawr Loader, Connor Lovejoy, Cis O’Boyle, Nia Skyrme & Morgan Thomas
Performers/ Perfformwyr: Catherine Dyson, Gwawr Loader & Morgan Thomas
Stage & Production Manager/ Rheolwr Llwyfan a Chynhyrchu: Jacqui George
You only have till the middle of March to catch Staging Places at the V&A. Curated by Fiona Watt and designed by Andreas Skourtis, it’s a great exhibition that not only reflects design for performance by practitioners active in the UK over the last four years, but also delves into and attempts to demystify the design process. In the same open and exploratory spirit, the exhibition design incorporates a round table, at which we’re hosting events and discussions. Follow The Society of British Theatre Designers on Twitter, Instagram or Facebook to keep up-to-date. Or better still, join!
Panos Andrianos has made a teaser video for the exhibition, with sound by design by Romanos Papazotos:
I’ve just done a great project with Pegasus Young Company: a production of Carol Churchill’s Love and Information, directed by Corinne Micallef. The cast members were a great ensemble, highly supportive of each other, and really engaged with the piece at a conceptual level. It was really collaborative and we had some great discussions about how the design should work dramaturgically, as well as working through stuff practically, including with the modelbox.
I pulled together a bunch of images from my process for the marketing team to use, including a video of my sketchbook. And I thought I would share them here. Continue reading “Love and Information”
I’m rather delighted that not only is my design for 4.48 Psychosis featured in the SBTD‘s exhibition Staging Places: UK Design for Performance, currently at the V&A Museum, the production itself is also being revived. A huge, sell-out success last year, Deafinitely Theatre‘s bilingual production will soon be in London, Derby and Cardiff, with a new cast but the same design. You can book tickets here, but do hurry up as they’re selling fast.
On the other hand, there’s plenty of opportunity to see the exhibition. It’s been extended till March. I shouldn’t praise it too much, as I had a small role in the team that put it together, but I can safely say I’m very pleased indeed with what we achieved. I wrote about it previously here.
Finally, there’s an amazing Staging Places website that has been created as a kind of online gallery to accompany the exhibition. My page on it is here but it features a lot more designers, in addition to those of us in the physical exhibition. It’s definitely worth spending some time with.
A big part of my life recently has been the Staging Place project.
The Prague Quadrennial (PQ) is the world’s leading exhibition of design for performance. It’s an amazing thing: professional and student displays from all over the globe, talks, discussions, performances, exhibitions… The UK has traditionally done well at it too, frequently winning major prizes, though this is pretty much never reported in the UK press.
It’s also become something of a tradition for us to show the display at the V&A Museum in London after bringing it back from Prague. And sometimes to tour it to other venues in the UK.
The Society of British Theatre Designers takes the lead on this rather complex project. I’m on the SBTD committee but I didn’t want to get too involved as it’s very time consuming.
The play is hard to read on the page: hard in two senses of the word. It’s gruelling emotionally but also abstracted, opaque, fractured and ambiguous. It’s constructed from fragments of naturalistic dialogue, inner monologue and poetry, all shored up into a kind of barrier against obvious interpretation. The author’s own distressing experiences are rendered into a set of cyphers that hide her personal truths from the people watching, reading or making a performance of the play. The temptation, therefore, is to try to find the key to unlock the code and expose her original meanings, but this seems to me to be a pointless – and impossible – quest. Instead, each production should create its own key, and decode these fragments into a new set of meanings that resonate for the artists involved. That’s very much what happened here, with director Paula Garfield’s emphasis on two overlapping crises of mental health – one amongst the deaf population and one amongst men – and the communication failures and lack of comprehension that exacerbate them.Continue reading “Designing Deafinitely Theatre’s 4.48 Psychosis”
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 “Moving studio… a few meters”
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.
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 “Light Waves Dark Skies”
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 “Open Studio 2016: photos”