Assistant designer needed

Edit: the callout is closed early. It’s genuinely humbling how many amazing, talented people applied.

Here’s the call:

Assistant designer needed for Cece’s Speakeasy, a night of entertainment with storytellers, poets and musicians sharing new work that explores hope and action during the climate emergency. And the possible end of cocoa and coffee. The piece is being made and shown at The Albany, Deptford.

You will ideally be based in or near the SE London area and available for a minimum of 4 days pro rata in the second half of June. Prepping stuff at the venue from 21st June, with the get-in on 28th and the show opening on 30th. Key areas I need help with are sourcing/adapting costume and painting set, but there’s scope to be involved more widely, according to your interests. An enthusiasm for sustainable theatre design would be beneficial, as we are seeking to make this production as green as we can.

Students and recent graduates are welcome to apply; it’s fine to be learning/developing skills on the job and you will be supported by me and the team. But you will also need to be happy getting on with stuff independently.

We are particularly interested in working with artists that have a connection to cocoa and coffee growing countries.

£100 per day.

Deadline 12 noon Mon 14th June. No particular process for applying! Just drop me a line if you’re interested, and feel free to spread the word.

And while we’re on the subject, the callout for a creative assistant for East is also still live. [Edit: this callout has now closed but do always feel free to get in touch about Daedalus projects]

Latest blogpost for the SBTD: The Green Book

I’ve been on the committee of the Society of British Theatre Designers (SBTD) for quite a few years now, and just before the pandemic I was one of a small team of designers that, as a result of a roundtable we organised at the V&A during our Staging Places exhibition, set up a new working group for the SBTD to focus on sustainability. Now called the Sustainable Design Group (SDG), it has nearly 60 members and regular four-weekly meetings, with various subgroups (materials, costume, training etc.).

Through the SDG, I also got involved with Ecostage and am now part of core team re-imagining the Ecostage principles and pledge, along with creating a new website. I’ll be sure to tell you a lot more about all this once the website has launched.

Being part of these two projects has led to me being stupidly busy while many of my theatre colleagues were getting into baking and houseplants, and I do feel as though maybe I should have taken more of a chance to breath. But it has also been deeply rewarding and has led to all sorts of interesting connections in the UK and internationally.

One particularly interesting thing over the last few months has been contributing to the creation of The Green Book. This is a project to create an authoritative guide to sustainable theatre for the UK sector. Part One is out in beta form for you to download and trial. Led by the theatre architect Paddy Dillon, working with Buro Happold, it was initiated by the Theatres Trust and the ABTT. I’ve written about it in more detail in my latest post for the SBTD.

The cover image for the SBTD blogpost, which is in the background of the cover image for this post, is from a project by SDG member and amazing designer Alison Neighbour: the original image with an explanation and full credits can be found in the post itself.

If you do have feedback on Part One, I’ve offered to compile any feedback that comes in through the SDG, so feel free to contact me and I’ll add it to our group’s feedback document, which I’ll pass on to Paddy and his team.

Meanwhile there’s lots of other stuff in the pipeline from the various things I’m involved with, ranging from the Ecostage website launch to new design-focused carbon literacy training. Plus some actual design work is creeping hesitantly back… Fingers crossed for that.

In the meantime, if you work in theatre, please have a read of my SBTD blogpost, then download The Green Book and give it a test run.

Light Waves, Dark Skies

I designed this show a few years ago and posted briefly about it at the time, chiefly to flag up a blog post I wrote about it for the National Theatre Wales Community Blog. But I just realised I never put the production photos up on the website. I’ll add a couple to my portfolio page, but here’s the complete set.

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

Designer/ Cynllunydd: Paul Burgess

Lighting Designer/Cynllunydd Goleuo: Connor Lovejoy (Light Designer for R&D: Cis O’Boyle)

Sound Designer/  Cynllunydd Sain: Sam Jones

Full details: http://wemadethis.org.uk/light-is-like/credits/

Staging Places at the V&A

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:

Continue reading “Staging Places at the V&A”

Love and Information

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”

4.48 Psychosis is back

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.

Staging Places: UK Design for Performance

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.

Reader, I got very involved. Continue reading “Staging Places: UK Design for Performance”

Designing Deafinitely Theatre’s 4.48 Psychosis

We’ve been getting some very enthusiastic responses from audience members for our production of Sarah Kane’s 4.48 Psychosis, and some great reviews, so I thought it might be worth sharing some thoughts on my design process.

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”

Moving studio… a few meters

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”

Watching Big Brother: Northern Ballet’s 1984 on stage and screen.

(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 “Watching Big Brother: Northern Ballet’s 1984 on stage and screen.”