Being a Theatre Designer

INTERVIEW WITH COLIN RICHMOND – SET DESIGNER

How did you get in to set design? I was always interested in design and making theatre from a young age. So, when I found out I could study it at university, I applied for drama school and got in. I ended up getting a first from the Royal Welsh College of Music and Drama in Cardiff. It was like I had come home finally and found my tribe there.

Can you tell us about your initial concepts and artistic visions for Curve’s version of Oz? It’s been a long time in the making, we started initial ideas during the first lock down if not a little before in 2020. I think we were always interested in seeing the world through Dorothy’s eyes. Then the idea of looking through a lens slightly too, whether it be an old Kodak photograph and then a morph into full Technicolor… The frame on stage and the shape of the portals started with an idea of looking through an old TV monitor... and then it developed from there. Each scene has a carefully considered item to transport us. We always knew we would be heavily involving projection in the visuals, so Douglas O’Connell (Projection Designer), Nikolai Foster (Director) and myself along with Rachael Canning (Costume and Puppet Designer), have worked closely together to make sure all our disciplines are seamless. We wanted the vision for the show to be fun and fresh and sometimes irreverent, or at least a little cheeky. Big bold colourful images and ideas and arresting visuals were key to us and making sure our movement on the journey to Oz was fun too. Once a few ideas had been conceived and agreed on we were able to piece other images into the show. The wizards head for example was a very early idea. Quite anarchic and fun and really using video and scenic items together to make a whole image. Lots of perspectives change throughout too – purposefully giving us a warped view sometimes both as the audience member and as if we’re seeing the world through Dorothy’s eyes.

Do you feel there are any successes and challenges when designing a set for an inside out theatre such as Curve? It’s a wonderful space in terms of its size and its stage machinery. We wanted to really pull the show out into the auditorium as much as we could so we’ve built out in front of the existing proscenium. We are able to do a lot of large set pieces pushing in from the wings due to the space off stage, so this is brilliant for us as designers, being able to shape shift endlessly, not so fun for the crew however.

What tips would you give to someone who would like to pursue a career in set design? Don’t ever underestimate the hard work and discipline it takes to get ahead in theatre. It’s a hard and long slog and there’s a lot of voices and judgements to contend with. Try to know your own true worth, both in terms of your work style and work ethic. It’s a privilege to do something that feels like fun for work, so it’s easy to forget it still is work and you need to make a living from it. You’re being employed to be creative most of the time and it’s sometimes hard to be that, we all have off days, so be kind to yourself on those occasions. It’s amazing though to share your work with other people and see the excitement it brings to them in seeing new worlds come to life, and hopefully it gives people what it was that inspired you to get into it in the first place. Above all, be nice to everyone... A theatre should be a solace for us all.

We wanted the vision for the show to be fun and fresh and sometimes irreverent, or at least a little cheeky.

It’s amazing though to share your work with other people and see the excitement it brings to them in seeing new worlds come to life... Lots of perspectives change throughout too – purposeful giving us a warped view sometimes both as the audience member and as if we’re seeing the world through Dorothy’s eyes.