It’s more formalised in the first play and then as we get into it, the language of it becomes more and more unhinged – we start getting a little bit David Lynch. I think the fact the subject's overwhelming. She's worked on … Paule: The head of the drama department was an amazing woman called Nesta Jones. In her exclusive Seven Stages interview, she reminisces about how she first stumbled across lighting design. Posted in Theatre, ... set and costume designer Lez Brotherston and lighting designer Paule Constable to add their skill, knowledge and talent to the production to both cushion and push him as he brings his interpretation of the Bard’s work to life. It's partly being willing to ask the questions. Orange melts into rose-gold, then russet. She is an associate of the National Theatre, the Lyric Hammersmith and for Matthew Bourne’s New Adventures. What do you find are the biggest obstacles to becoming more sustainable in theatre and lighting design? The artist straight outta cornfields soon found herself fielding questions on MTV’s Total Request Live and performing on Nickelodeon’s Yo Gabba Gabba. At the beginning of the London Cycling Campaign, cyclists were referred to as 'moving targets'. Adrian: Rigor, it’s exactly as Paule describes it, concentrating on a craft in detail. This form is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. These are such key questions. In this country, we have an incredible amount of older building stock, which is so incredibly porous in terms of belching energy out. We interviewed author Mark Haddon, and Simon Stephens, writer of the stage adaptation. You’ve both mentioned rigor – could you both tell me what you mean by rigor? It was amazing playing the show in London, but bringing it here, there’s a whole other level of understanding. Paule: I have a five questions I ask myself about the piece. See more ideas about room, interview rooms, police station. Beside me, Paule Constable whispers to a technician and there is a flurry of keystrokes. There are some composers who will leave the actual writing of the notes till the very end – it’s sort of about finding out what you shouldn’t be writing. She has since won three more Oliviers, along with two Tonys and three ABTT Knight of Illumination awards. Credit: Johan Persson. "I imagined how Christopher would have made the show," says Constable. One of the biggest questions is "who is supplying energy to the buildings we work in?". ‘Millennium Approaches’ is in many ways more naturalistic, more realistic and then you get to ‘Perestroika’, which is the longer of the two plays, and the scenes are becoming longer and longer and more weird, more fantastical. What's your favourite thing about lighting design? Posted in The Lowry, Theatre, ... We have a new lighting designer, Paule Constable, as one of our associates for the piece. 'Lots' is considered a thing we should aspire to. Featured Music NYC 0 5 min read. Paule Constable read English and Drama at Goldsmiths and trained in lighting design while working in the music business. A lot of Blade Runner. Paule: Marianne Elliott was commissioned to do a production. The importance of critical mass and the rights for cyclists to move came out of that. How did the light and sound develop across the two plays? I've always been a militant cyclist. I've got to the point where I'm just going to ask it. Paul Banks Interview. But whoever works with me would never bring a plastic bottle of water onto a tech table, because I'd just tell them to go away and take more responsibility. When I run I never listen to music. 12/6/2012 0 Comments Anne Hamilton: Welcome to TheatreNow!, a production of Hamilton Dramaturgy. Adrian: There’s a thing about the shape of the two plays. Follies, National Theatre. Particularly being in London in the 80s, as soon as you went onto two wheels you were part of a different tribe. It's a rental, so we don't have to buy new lights, we can move very quickly and use new technology. The latest instalment in our series showcasing Britain's best lighting designers focuses on the four-time Olivier and two-time Tony Award winner Paule Constable. You start debates about PVC (electrical) tape and lighting cables, and you feel so ridiculous. Adrian: The thing about my degree at Goldsmiths was that it taught me the value of absorbing, listening and learning, doing everything that you can. The job of a lighting designer is … The graph we were were looking at for the energy is almost like a graph of its visual energy. Going back to Angels brought back very vivid memories of that time in my life. Not every play I do takes three months, but Angels really needed a big investment in time. It’s standing by your choices, so it’s making active choices. Interview with Paule Constable, Lighting Designer. How have you then incorporated sustainability into your design? Matthew Bourne’s Romeo and Juliet. I’d worked with the stage designer Bunny Christie before and I’d worked with lighting designer Paule Constable before, as well as composer Adrian Sutton (the latter two on War Horse). There’s a lot of Ridley Scott. That’s one of the things about theatre, it’s never finished, it’s never finite, it’s never fixed. ‘Angels in America’ in the UK was three months of work. , Lighting Designer , NYC Theatre , Tony Award Winner , UK Theatre But there's one moment when I felt I wanted an organic push. Paule: As a lighting designer you’re not, generally, creating a world. Often, commercial success is often held up as 'the best'. I suppose that also relates to my work. It's interesting how those two things go hand in hand. As the conversation gets bigger, you feel less marginalised. Rigour is my other complete obsession. Paule Constable’s interview … I think we have to take a massive responsibility as designers. Professor Mark d’Inverno, Pro-Warden (International), caught up with alumni Paule Constable and Adrian Sutton in New York to talk about their work on ‘Angels in America’, which is currently on Broadway, and their Goldsmiths experience. Design and the Creative Process with Lizzie Clachan, Paule Constable, Maddy Costa, Michael Longhurst and Tom Scutt. So often, good lighting is about what you don't put light on. It was a war zone out there if you were on a bike. The sets are bathed by lighting designer Paule Constable, who’s new to the team. Ayckbourn’s interview is available to listen to now and follows episodes with actor Noma Dumezweni, choreographer Arlene Phillips, former Young Vic artistic director David Lan, Olivier award-winning lighting designer Paule Constable and legendary actor Ian McKellen. We've made this bright white aesthetic using very low energy sources. Paule has never seen our SWAN LAKE before – not on film or on stage – so we’ll get a completely fresh approach from Paule and I don’t know what it will look like yet. Paule Constable Lighting designer Paule Constable became an RDI in 2019. Is there anything that you think that you learned at Goldsmiths that you still use in practice? Also the piece both in terms of me and what else I’m doing and also if it feels like the right place to be doing that project. The total running time is seven hours. In the same way that when you're grappling with something creatively in a show, you don't ever give up as a designer. It’s definitely going to look different, as Paule’s a different kind of designer, so that will be a big change.” First staged in 1995, Swan Lake is 23 years old. I grew up in a rural town in South Africa, so all of a sudden, it was just this exploding of stimuli. It’s also brilliant because Tony Kushner, who wrote it, is a New Yorker. It's like a breath of air and then it goes. August 10, 2011, 9:46 pm Filed under: Paule Constable , Season Two | Tags: Anne Hamilton , Hamilton Dramaturgy's TheatreNow! Interview: Mark Haddon and Simon Stephens. It's set in a white space. What I view as rigor is doing things to the best of your ability, constantly learning. Episode Three with Paule Constable Recorded – Stay Tuned! The impacts of our daily lives go far beyond our own existence. It takes a huge amount of research, the world of it is very, very rich, but we did use a lot of ‘80s movie references. Adrian: It’s called ‘Angels in America’. I hope that it all has that quality. If I'm concerned about how I travel to work, if I'm concerned about what happens to the resources that I use in my domestic life, why should that stop the moment I am at work and in an environment where I might not feel like I can control it as much? Read the interview with celebrated theatre lighting designer Bruno Poet. As an institution, Goldsmiths itself just felt like a bit of a spaceship that just landed in New Cross – it was in the most unlikely place. Devlin’s interview is available to listen to now and follows episodes with actor Paul Chahidi, playwright Alan Ayckbourn, actor Noma Dumezweni, choreographer Arlene Phillips, former Young Vic artistic director David Lan, Olivier award-winning lighting designer Paule Constable and Ian … That is a path I was trying to follow in the music. I know that I respond to light in a very particular way. Paule Constable is a lighting designer who has worked at major venues both in the UK and internationally. You're amongst people and, while you're cycling faster than people are walking, you're interacting with people in a city in a very visceral way, in a way you don't in a car. It's been a slow evolution for me and it's been quite difficult. We were looking at the energy usage of Romeo and Juliet (Matthew Bourne). It’s also funny because we both started at Goldsmiths in 1986 during the AIDs crisis. There were no cycle routes anywhere. Who is the team going to be? Roy Cohn, who is the kind of arch, evil, baddie in it, is a real character who was Trump’s lawyer. For me, lighting isn't about the 'stuff', it's about the air that you press.". Don't feel like you're a victim. Do you have any particular examples of your work where you have used a more sustainable technique? Paule Constable: My job is to understand the themes, the story, the concerns of the production as a director brings it to life. It was also the first really urban place that I’d ever lived. Paule: Tony Kushner is playing with the idea of the mythology of America in this kind of huge epic play that slowly unfolds into this epic landscape. Apr 30, 2015 - Explore เอกรินทร์ ทิพวรรณ's board "Interrogation room" on Pinterest. ". How has this been as a journey? Spam protection has stopped this request. I know that there are certain women who I have met on my journey who are benchmarks for me, they were role models, they were mentors. It’s on at the Neil Simon Theatre, 52nd Street on Broadway. We just need to bring that same rigour into the environment we're working in. Making it dramaturgical. That means sometimes I’ll do things for nothing if I want to. I think it's what makes light more interesting. Both Paule and Adrian received a nomination for their roles, as lighting designer and composer respectively. And finally, I always have the question of money, which isn’t how much I’m going to be paid, but am I happy to do the work required for the amount I walk away with. I love the sense of taking responsibility for your own travel, rather than sitting in a metal box and being taken places. You acknowledge that something that you're doing is using a lot of resources, but you're not just being careless. It also implies loads of 'stuff' and use of resources. She has since won three more Oliviers, along with two Tonys and three ABTT Knight of Illumination awards. Midwestern Hip-Hop artist Leslie Hall broke out in 2005 rapping about gold pants and bedazzled sweaters. Shauna November 9, 2012. The most exciting work is when you feel that everybody is really questioning themselves and each other. Alice Boyd: Interview with Paule Constable. She has been the recipient of multiple Olivier, Tony, Helpmann and Knight of Illumination Awards, alongside other accolades. It absolutely fulfils the brief. For me, it really started there. They were brilliant women who made me believe I could take the next step, whatever that was going to be, and Nesta was certainly one of those. ... Read our interview with Matthew Bourne about making Romeo and Juliet. ", I hope that it all has that quality. That's one of the reasons why I love being up in the hills. That's a really simple question. I did a bit of lobbying for the London Cycling Campaign and it made me realise quickly that the city is obsessed with the car. Les Misérables (/ l eɪ ˌ m ɪ z ə ˈ r ɑː b (l ə)/; French pronunciation: [le mizeʁabl(ə)]), colloquially known as Les Mis or Les Miz (/ l eɪ ˈ m ɪ z /), is a sung-through musical adaptation of Victor Hugo's 1862 novel of the same name, by Claude-Michel Schönberg (music), Alain Boublil and Jean-Marc Natel (original French lyrics), and Herbert Kretzmer (English lyrics). The thing I value most about the people I enjoy working with is rigor. When you're in a white space you're not starting from dark, you're starting from light. INTERVIEW: Matthew Bourne Talks ROMEO AND JULIET. Paule: There was so many brilliant things around the Albany Empire – jazz at the Albany Empire; watching Vic Reeves and Bob Mortimer perform at the pub on the corner; and seeing geographical duvets, that was that mad dance company. Seven Stages podcast, sponsored by Audible, is available anywhere you find your podcasts including Apple Podcasts, Spotify and the link below. Tenor Derrick Davis is the infamous masked Phantom. University life became a rigorous and bracing and exhilarating exposure to new things, new music, new ways of thinking. Do you know the thing that I will always love about Goldsmiths, is the black and white checked floors. Listen to the interview. Trying to wrestle with the behemoth of this subject as an individual is so overwhelming that I think people feel they can't. So that’s the first question. At what point did you become aware of environmental sustainability? We were all so aware of it. I’ll read the play so I know what I need to achieve and what we need to do to get from the beginning to the end of it, but I won’t read it to have my own strong feeling about how I want to interpret the play – my job is to interpret this production of it. The big one for me that we need to think about in the next few years is the building stock we work within. Paule Constable Lighting Designer. The degree at that stage in the late ‘80s was a very prestigious academic useful degree. But actually the more you try and encourage people to ask the questions, the more we can change the direction of travel. It’s absolutely about the rigor of the process. I keep banging onto people about how taking responsibility for the use of resource is good design practice because it implies a rigour. It was never planned to be played in New York, but people seemed to like it. This is a podcast series featuring some of the most exciting women artists working in the theatre today. Alison Tickell (Founder and CEO of, "The problem is it's so invisible. He wrote it in the ‘80s. There was completely no comprise in terms of the quality of her voice. 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