theatre design
Tom Birchenough
The sheer joy of making theatre provides the central attraction of Cycling with Moliere (Alceste à bicyclette), but Philippe Le Guay’s film is also rich in the comedy of fractious interaction between old friends whose worlds have moved apart. It’s the story of two actors: Gauthier (Lambert Wilson) has become famous for his television roles (the different circumstances in which he’s recognised become memorable vignettes in the film); Serge (Fabrice Luchini) has left the profession after a breakdown, retreating to a run-down house on the windblown Ile de Ré and a life of virtual solitude. Read more ...
Ismene Brown
Last night the Olivier Awards handed their top honour for dance not to a dancer but to the man who shines the lights on the dancers. Michael Hulls, winner of the Outstanding Achievement in Dance award, paints the dancing of Sylvie Guillem, Akram Khan, Russell Maliphant and the Ballet Boyz with atmospheres and illuminations that seem to reach beyond the visual and into some paranormal place.Lighting designers are either wizards or useful pedants. They scrupulously light the action or they make light speak its own language, activating space, time, illusion, imagination - inventing effects that Read more ...
kate.bassett
Once upon a time, there were two cultures, and they were at odds. A forested wilderness stretches between the kingdoms of Sealand and Lagobel, as we glean from the childishly-drawn, giant map that serves as a front cloth for the NT's new musical spectacular – directed by Marianne Elliot and opening in the Lyttelton last night. The map shows, on one side of the wilderness, Sealand’s coastal realm with winding rivers and a chateau bristling with turrets, all in shades of blue. On the other side, inland, is Lagobel’s walled city of Arabian-style domes where everything is orange or yellow-gold.Co Read more ...
David Benedict
In a moment of scalding intensity at the climax of Ghosts, terrified Oswald sees the sun. Throughout the rest of Ibsen’s celebrated drama about the sins of the past, light is fairly absent. Merely cataloguing the disasters that befall its heroine Mrs Alving would certainly indicate a play living up to Ibsen’s bad reputation as the leading dramatist of doom and gloom. But that categorisation misses the excitement created by his ceaselessly taut plotting – it’s nothing less than a five-hander thriller – and the audience-grabbing pace of Richard Eyre’s steady-burn production.Much of the tension Read more ...
Ismene Brown
Technology and dance have long been ardent bedfellows. No other theatrical art gobbles up illusions and tricks quite as greedily and spits them out quite as intriguingly altered. Gaslight was a new technology without which the romantic ballets Giselle and La Sylphide could not have existed. Without electric light such exotic adventures in sunshine as Le Corsaire or Don Quixote could not have partied over the late 19th-century St Petersburg stage.In the 20th century, hand-drawn film animation allowed animals to dance and speak, and Merce Cunningham seized on computer software to explore motion Read more ...
Ismene Brown
The bells ring out for creativity in the Royal Ballet’s final production under its outgoing director, Monica Mason, and the ambition at least of the enterprise is hugely to be cheered, even if asking seven choreographers to work together is on a hiding to nothing.Metamorphosis: Titian 2012 is a cross-platform hybrid of too-rare provenance: it was germinated when the National Gallery asked three artists, Chris Ofili, Conrad Shawcross and Mark Wallinger, to make new work responding to the three great Titian paintings about Diana and Actaeon. (These centre on the myth of the huntsman Actaeon who Read more ...
Sarah Kent
Three paintings by Titian depicting stories from Ovid’s poem Metamorphoses welcome you to the National Gallery’s exhibition Metamorphosis: Titian 2012. Diana and Callisto shows Diana casting out the pregnant nymph Callisto from her company. Diana and Actaeon depicts the young Actaeon out hunting and stumbling into a sacred grotto where Diana and her nymphs are bathing; and in The Death of Actaeon, we see the goddess exacting vengeance on the intruder by turning him into a stag to be torn to pieces by his own hounds.You may remember the public appeals that helped save these splendid paintings Read more ...
Ismene Brown
It takes more than utmost craft and rich personality to hold the stage as a soloist - it takes a touch of divine self-belief, which Akram Khan has never displayed to more magnetic effect before than in his new solo DESH. Actually solo is too small a word for this epic, lavish display of the starpower that Khan now emits in the world of dance theatre.This production looks as if it has cost hundreds of thousands of pounds to stage, with its luxuriously liberal video animations by Yeast Culture, celestial lighting by Michael Hulls, an ambitiously created live/recorded soundscore by Jocelyn Pook Read more ...
Ismene Brown
The designer of a fairytale ballet is far, far more important than the choreographer. It's those visions that lodge themselves in children's heads, in adults' memories, embedded with the music. And at no time more potently than Christmas when it's time for The Nutcracker and Cinderella. When people think of ballet design they may think of John Macfarlane, the genius of Birmingham Royal Ballet's Nutcracker and the Royal Ballet's Giselle, and Peter Farmer, the confectioner of Birmingham's Coppelia and the Royal Ballet's latest Sleeping Beauty. Both men are stepping up to the plate again this Read more ...
Ismene Brown
The show's curator Jane Pritchard revealed this wonderful kitchen story in a unique walk-round with theartsdesk this week. Her two-year hunt ranged from Diaghilev's passport to glorious Nijinsky costumes, from the Ballets Russes accounts book to astonishing Picasso stage cloths, from precious notated scores by Stravinsky to automated Constructivist art, from ballerinas' slippers and early colour film to Yves St Laurent fashions. There is even a remarkable case containing original manuscripts and typescripts of James Joyce's Ulysses and Marcel Proust's A la recherche du temps perdu and T S Read more ...
Jasper Rees
Koltai’s stage designs have been seen in countless operas and theatre productions around the world, and yielded many awards. Of Hungarian extraction, he was born in Berlin in 1924 and granted entry to the UK in 1939. He served with British Intelligence at the Nuremberg Trials before going on to train at the Central School of Art and Design, where he later became head of theatre design. He was created a CBE in 1983. At 86, he remains associate designer for the Royal Shakespeare Company.He now lives in France, where he takes objects found on nearby farms, predominantly metal but also wood, and Read more ...
hilary.whitney
For the past five years British stage designer Es Devlin has been creating extraordinarily ambitious and imaginative sets for some of the biggest crowd-pullers in the music industry, from Take That to Lady Gaga. But this week she returns to her theatrical roots with a new play, Pieces of Vincent, by David Watson at the small but prestigious Arcola Theatre in London.Devlin, who is 38, was brought up in Kent and is the second of four children. Her first professional job, on the strength of winning the Linbury Prize for Stage Design, was Edward II at the Bolton Octagon after which her career Read more ...