“If you close your eyes in the theatre, you’ll initially experience incredible music,” George Leigh, Set, Lighting & Costume Designer at Opera North, told us. “You could just listen to that music, but if you actually open your eyes, you can see incredible people, wearing incredible costumes on an incredible stage, surrounded by even more incredible people playing and conducting the music live, and all telling an incredible story. There isn’t another experience like it.”
Just two years after leaving the Liverpool Institute for Performing Arts (LIPA), Theatre & Performance Design graduate George Leigh will be designing the opening production of Opera Holland Park’s 2019 season.
Pirates Revisited is a new production from The Opera North Youth Company (ONYC). This new adaptation of Gilbert and Sullivan’s “The Pirates of Penzance” is written by John Savournin, directed by Emma Black and conducted by Nick Shaw. This is ONYC’s first visit to the Edinburgh Festival Fringe, after which the production will tour to The 25th International Gilbert & Sullivan Festival in Harrogate.
Director Karolina Sofulak and designer George Leigh, joint first prize winners of the tenth European Opera prize, will lead the creative team for Manon Lescaut, the first production of Opera Holland Park’s 2019 Season.
This was a dance performance with a difference. The evening was an exploration with explanation of abhinaya, the art of expression in Indian classical dance. It was in equal parts an explanation and demonstration as well as a dance performance. The explanation was in the form of a conversation between the two dancers, apparently informal yet carefully planned to be informative.
Derby Theatre is proud to announce that they will present, in association with Karma Nirvana, an award-winning human rights charity who support the victims of honour-based abuse and forced marriage, a powerful new play called Beyond Shame.
‘In Recreation something else is happening. The show is an invitation to come nearer to one another, to be both working and not-working whether on stage or off. In various ways, the performance invites you to work hard and to relax, to blur the distinction between being active and being receptive, between expecting something of yourself or someone else and not expecting anything, sort of pottering around in your experience’.
S/HE is a duet that reflects on the questions, ‘do men need feminism?’ and ‘does feminism need men?’. As a dancer and thus already on the fringes of what chauvinistic patriarchy might consider ‘male’, Simon Palmer may feel the first question is redundant and for Hannah Buckley, a witty and passionate advocate of dissolving such social imperatives as having children (see her Woman With Eggs), the second question is rhetorical.
To get around what could have easily become a series of static talking heads, designer, George Leigh has created a revolving metal set that captures the playfulness and energy of youth as the actors nimbly climb up and down through scenes, as well as giving a sense of being trapped and isolated. It also gives space to the characters – who can perch on different levels depending on whose story is in the spotlight at any one time.
Played out on a big open stage designed by George Leigh, the set is reminiscent of a modern nightclub with symbolic references to a Roman coliseum, this is the perfect setting for a play that, at its heart, is all about power struggles – this is a modern day gladiatorial battle arena and provides plenty of flexibility in suggesting place and location.