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!
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”
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”