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Edinburgh-2017-04

It’s been an absolute dream to be part of the Edinburgh Fringe Festival this summer. I took part as a member of the Scottish Opera team, who performed an opera specifically created for babies aged 6 to 18 months, called BambinO! After our successful run in the Manchester International Festival, I was excited to be part of the team to take BambinO to a new venue in Edinburgh, enabling different families to encounter the wonder of this beautiful Opera.

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Back Row: Laura Sergeant & Stuart Semple Front Row: Me & Timothy Connor

My role in the production is Uccellina, a bird who discovers an egg.  The egg grows and hatches revealing a baby bird, called Pulcino (Timothy Connor), he takes Uccellina for his mother and explores the world.  I’m initially happy though a bit annoyed at his hyperactive behaviour, we reconcile quickly being pleased to have found each other.  I tell Pulcino of the sky and its wonders and that it’s his destiny to fly from our nest, although also sad about the thought of being separated, we are caught up in our excitement of his first flight.  When Pulcino is ready to fly we sing our final duet of farewell, he soars among the clouds and I ponder his journey.

The show kept the original music wonderfully performed by Laura Sergeant on Cello and Stuart Semple on Percussion, drama, set and costume and we continued to make babies gurgle, laugh, squeak, sing and occasional cry! I couldn’t believe that our show sold out within the first couple of days and that many who missed out wanted details of the dates for our performances in Glasgow in the Autumn.

We began on the 8th August 2017 and continued until our last performances today. Our shows took place at 10:00 am and 11:30 am each day. I loved every minute of each show, and though we had early morning calls it was definitely worth it.  Joining us in Edinburgh to complete our gang were the delightful Lee Reynolds, Julie Burns and Paula Duncan. Their help was outstanding and enabled each show to go on without any troubles. It has been an absolute pleasure working with them. It was also wonderful to see the education team join us at the venue and share in the joy these performances have brought to their young audiences, and their parents, and grandparents, many of whom told me it was their first opera too.

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Back Row: Me, Paula Duncan, Julie Burns Front Row: Lee Reynolds, David Sneddon, Audrey Blake

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Lee Reynolds, Audrey Blake, Julie Burns, and David Sneddon

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Julie Burns, Lee Reynolds, Me, and Laura Sergeant

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Julie Burns, Me, and Lee Reynolds

I was also able to see some of the festival myself as an audience member as my super-duper family came up to support me and to celebrate my Mum and Brother Matt’s birthdays. We saw some fabulous shows and these were the ones that stood out.

 

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Me and my Brother Matt

 

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Ada Campe and the Psychic Duck

We fell upon this show by accident, having joined up with my Mum, Dad and brother Tom and his girlfriend Anna on Saturday 12th we decided to explore what the fringe had to offer.  Walking along we were approached by a persuasive assistant outside the venue and as the show was due to start we decided to pop in.  The show did not disappoint, Ada Campe was an entertaining and articulate performer whose act recounted stories of her life as a variety performer.  She kept the audience enthralled for the 50 minutes she was on stage, delivered adlib lines with aplomb, drew belly laughs from the audience and when she interacted with the audience you laughed with them not at them which is a tremendous skill.  We all enjoyed this little gem.

Meow Meow’s Little Mermaid

This was a late-night show which started at 10:30 pm so the only chance we had to watch it was on Sunday night as my day off was on the Monday.  So, I booked tickets for my two brothers Matt and Tom who came along with me to watch. The show was an enticing cabaret full of laughter, aerial stunts, music and singing.  We had a blast in ‘The Hub’ our seats were a fabulously situated in a fabulous purple booth in which we could truly relax and unwind after a busy day. It was an especially wonderful show for me as my fellow BambinO cast member Stuart Semple was playing! Goodness knows how he managed to juggle his late evening performances for this show with the early starts of our baby opera! He’s a true trooper!

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Velvet Evening Seance

To sample some of the drama of the fringe we decided on my day off to check out some of the shows on offer.  We liked the sound of this one man show, which was set in a Victorian court room.  The monologue was delivered eloquently with sufficient depth to draw you in as the story developed.  The script cleverly twisted in different directions providing enough misdirection to make you think about the guilt of the accused.  Would you send him to the gallows?

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Into The Woods

Though I missed out on this performance my Mum, Dad and brother Matt said they thoroughly enjoyed the Royal Conservatoire of Scotland’s Musical Theatre department production. Maybe I will get the chance to catch it again as they were singing about it for a couple of days.

Into The Woods

It was lovely to combine my holiday with work and take some time to catch up with my family.

On our last performance day, today the cast and crew celebrated with lots of cake, homemade shortbread in the shape of birds (by the wonderful Paula), tarts, cups of tea and surprise party poppers from the marvelous Stuart Semple after our final bow.

I had such a blast and can’t wait to work with everyone again in October!

Please click on the above images to see a larger copy.

The Edinburgh Festival

August 6, 2017 — 71 Comments

Header 6th August 2017

Each year in August Edinburgh hosts what has become one of the largest Arts Festivals in the world, bringing together a diverse range of performers, from a huge array of artistic disciplines, converging in this historic and picturesque city.

The festivals first began in 1947, the brain child of an Austrian impresario, Rudolf Bing. From its early years, the Edinburgh International Festival brought artistic icons to the city each summer for the enjoyment of enthusiastic audiences, keen to be a part of this post war cultural revival.

As the popularity of the festival grew companies of performers unable to get on the main programme hired venues themselves and put on their shows outside of the area of the main festival.  Each year the number of these acts grew bringing both variety and vitality to the city.  The Scottish journalist, Robert Kemp referred to them as being “Round the fringe of the official festival” and the term seemed to stick.

The Edinburgh Fringe Festival has grown dramatically alongside the main Edinburgh International Festival and is now seen as an integral part of the festival experience.  In 2016 the Edinburgh Fringe Festival hosted 50,266 performances of 3,269 shows in 294 separate venues around the city. In all 2,475,143 tickets were issued during the three weeks not counting those who attended the 643 free shows included in last year’s programme.

During the Festival, the main show grounds of Edinburgh Castle host what has become a firm favourite for many who visit the city, the Royal Edinburgh Military Tattoo.  This large-scale production brings together the different regiments of the UK armed forces who provide the audiences fortunate enough to get tickets with a unique festival experience.

It was great to catch up with the cast and crew of ‘BambinO’ as we ran through the production in Glasgow ahead of our run at this year’s Edinburgh Fringe Festival. It is quite exciting to think that we are to be a part of the 2017 festival which is expected to be even bigger than last year.  Our first performance is on the 8th August running through to 20th August, with two shows a day at 10:00 am and 11:30 am.  The performances will be held at the Edinburgh Academy, 42 Henderson Row, Edinburgh, EH3 5BL.

Save The Dates !!

July 30, 2017 — 66 Comments

[ This is a new promotional video from Scottish Opera for BambinO ]

With August, almost upon us and preparations for the ‘BambinO’ performances at the Edinburgh Festival about to start, I am busy working on my rehearsal schedules for the coming months.  One of the most important things that I have found whilst studying music is the need for good forward planning.  If you don’t sit down and spend quality time working out rehearsal schedules you can find yourself feeling overwhelmed quite quickly.  I try not to put things off, it is better to know what needs to be accomplished and set time aside to achieve the goals that you have set to complete.

I try and work through my diary and schedule my time as accurately as possible.  I set myself tasks for each day and then again for each week.  This allows me to be realistic about what I can achieve in the time available to me.  Knowing what concert and College commitments I have over the horizon is so important as these need to be introduced into my schedule with enough lead time to complete them.

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Back in December 2016 I received an e-mail quite out of the blue from Gary Waller, the chairman of the Gustav Mahler Society. Having read my blog and listened to my recording of Strauss’s ‘Zueignung’ he invited me to perform at a recital as part of their 2017 programme of events.  I was quite taken aback at the time and was thrilled to have been asked, the fact that the enquiry had come after reading my blog was just ‘the cherry on the top’.

Following the initial enquiry, we exchanged several e-mails, met on a number of occasions, and a date and location for the concert were agreed.  Over the months Gary has been wonderful, supporting my recitals, enthusiastic with his encouragement, and understanding of my work and college commitments. I am hoping to perform a mixed programme with a little something for everyone.  With pieces by Mahler, Strauss, Schubert, Wolf, Liszt, Grieg, Quilter, and Dvorak.  The date is Tuesday 10 October 2017 at St Botolph-without-Bishopsgate Church Hall, Bishopsgate, EC2M 3TL Tickets are available from The Gustav Mahler Society.

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To prepare a rehearsal schedule for an event such as this, there are several areas that I need to factor in and work on. For each new song, I have to translate the lyrics, both literally and poetically, trying to visualise in my mind what I think the composer or poet wanted to achieve with the song. I then learn the music and how this interacts with the accompaniment.  I then bring the lyrics and the music together working on the alignment and clarity of vowels and then concentrate on how to articulate each consonant so that the text can be understood, whilst making sure the legato line is not disturbed. Finally, it all comes together so that I have my interpretation of the song which I hope reflects a little of my own personality too.

To close tonight I just want to thank everyone who downloaded a copy of ‘Down The Rabbit Hole’ and I hope that you enjoyed it and that it made you smile.

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Update: Monday 31st July 2017, I’ve just received the very sad and quite shocking news that my friend Gary Waller died suddenly and unexpectedly last weekend. We had only spoken recently when Gary asked me to learn Schubert’s ‘An Sylvia’ for the concert as it was one of his favourites and I’ve been singing it today. I will remember him every time I sing it. Even though I’d only met Gary this past year in London, I feel we knew each other really well as he read my blog religiously and always sent me a supportive message to encourage me. Our concert has been postponed whilst the Mahler Society come to terms with his immense loss. We shall miss him, I send my sincere condolences to his family and friends.

Down The Rabbit Hole

July 23, 2017 — 77 Comments

Down The Rabbit Hole- Cover Art

My third and final album from my time studying at the Royal Conservatoire of Scotland is now available to download at Amazon and iTunes, or to listen to on all the streaming sites. It’s my attempt to fund my living costs for my second year of Masters of Music Performance in London (my 6th year of study).  You may remember George Todica and I dressing as Alice and the Mad Hatter from Alice’s Adventures in Wonderland to get into character for the cover of our English Speaking and Song concept album.  Pascal Barnier used those photographs to imaginatively create the artwork that now hangs on my Mum’s office wall and is used on my ‘Down the Rabbit Hole’ album cover.

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All of the songs are classical English Art Songs and the spoken sections are prose and a monologue from Lewis Carroll’s ‘Alice’s Adventures in Wonderland’.  It’s quite bonkers and a bit ‘off the wall’ but I didn’t want to lose it, so we recorded it live last year.  ‘Alice’s Adventures in Wonderland’ by Lewis Carroll is the epitome of nonsense literature and fills our heads with imagination.

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The album is my reimagining of adventurous Alice exploring ‘down the rabbit hole’. Using the vast depth of English song repertoire full of wonderfully illustrative poetry and Lewis Carroll’s prose to rework the tale of one glorious golden afternoon’s adventure, where everything is imagined as the only weapon in the war against reality –with a philosophy of life to finish my program when a girl goes through that awkward stage of transition, imagined by her sister at the end of the book, and how she hoped Alice would keep, through all her riper years, the simple and loving heart of her childhood.  If you want to know more about what happened in Wonderland you will need to read the wonderful book.  I tried to tailor the songs to express my ideas and emotions about the start and end of Alice’s Adventure and in the words of the King of Heart’s ‘Begin at the beginning…and go on till you come to the end: then stop’.

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1. Sweet Chance That Led My Steps Abroad

‘Alice was beginning to get very tired of sitting by her sister on the bank, and having nothing to do: when suddenly a White Rabbit with pink eyes ran close by her’.  I selected Michael Head’s ‘Sweet Chance That Led My Steps Abroad’, using the poetry ‘A Great Time’ by W.H. Davies to create the scene.

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Punting In Cambridge

2.  A Piper

 Alice started to her feet, for it flashed across her mind that she had never before seen a rabbit with either a waistcoat-pocket, or a watch to take out of it, and, burning with curiosity, she ran across the field after it, and fortunately was just in time to see it pop down a large rabbit-hole under the hedge’.  I imagined the White Rabbit was rather like the Pied Piper leading Alice astray so follows ‘A Piper’ also by Michael Head from O’Sullivan poetry. It’s one of my favourite English songs.  

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3. Do Not Go My Love

“Why, how impolite of him. I asked him a civil question, and he pretended not to hear me. That’s not at all nice. I say, Mr. White Rabbit, where are you going? Hmmm. He won’t answer me and I do so want to know what he is late for, I wonder if I might follow him. Why not? There’s no rule that I mayn’t go where I please. I– I will follow him. Wait for me, Mr White Rabbit. I’m coming, too.”

Do Not Go My Love’ without asking my leave by Hageman with text by Tagore.  This is an English song I’ve sung for a couple of years and was included to represent the dreamlike fall into the unknown.

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4. Monologue

‘I wonder how many miles I’ve fallen by this time?  I must be getting somewhere near the centre of the earth…  I wonder if I will fall right through the earth! How funny that would be. Oh, I think I see the bottom.  Yes, I’m sure I see the bottom.  I shall hit the bottom, hit it very hard and oh how it will hurt!’

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5. Let the Florid Music Praise

At this moment, Five, who had been anxiously looking across the garden, called out “The Queen! The Queen!”, and the three gardeners instantly threw themselves flat upon their faces. There was a sound of many footsteps, and Alice looked round, eager to see the Queen…… “And who are these?” said the Queen, pointing to the three gardeners who were lying round the rose-tree; … How should I know? Said Alice, surprised at her own courage.  It’s no business of mine.”  The Queen turned crimson with fury, and, after glaring at her for a moment like a wild beast, screamed “Off with her head! Off___

Only one song could fit this moment of chaos at the end of the day ‘Let the Florid Music Praise’ by Benjamin Britten with the words of WH Auden.  I chose this dark humourous song because it’s so full of energy and excitement I think it fits that moment of panic, with a bold opening flutes and trumpets, imperial standards flying, hot sun raising temperatures.  The unloved Queen of Hearts with too much power.

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The three final songs were chosen from works by Roger Quilter (1877-1953).

6. Now Sleeps the Crimson Petal

“Wake up, Alice Dear! said her sister…why, what a long and lovely sleep you’ve had’.Now Sleeps the Crimson Petal’ now the white. The beautiful sonnet poetry of this song is by Lord Tennyson.  Tennyson discloses in this poem the stillness of the twilight, beautiful rest and stillness of sleep.  That time in sleep opens your heart and mind to new adventures with an emphasis on what you can see.

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7. Dream Valley

“Oh, I’ve had such a curious dream!” said Alice. And she told her sister, as well as she could remember them, all these strange adventures’.   Alice got up and ran off, thinking while she ran, as well she might, what a wonderful dream it had been. Memory, hither come, begins Dream Valley’ with words by Blake .  Lewis Carroll’s adventures included: happy and sad tales with lots of morals.

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8. Love’s Philosophy

Lastly, her sister sat still just as she left her… till she too began dreaming after a fashion:

‘As Alice remembered her dream, her sister, …. pictured to herself how this same little sister of hers would, in the after-time, be herself a grown woman… ‘.  ‘Loves Philosophy’ with poetry by Shelley that describes how different parts of nature interact and depend upon one another and is a classic story of unrequited love using natural imagery.

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I was very fortunate to have George Todica as my accompanist, he has now completed his Master’s degree in Piano at the Royal Conservatoire of Scotland and is undertaking several large competitions this year to launch his career; he also has an engagement next year ( 2018 ) at The Wigmore Hall, London.

Team BanbinO

Timothy Connor, Laura Sergeant, Me, Martin Wooley, David Sneddon, Stuart Semple

It is hard to believe that our time here in Manchester has come to an end.  We have performed in Manchester, Wigan, Hyde, Heywood, Oldham, finishing today in Salford.  The staff and Volunteers from the Manchester International Festival have been fantastic and made us feel so welcome at each venue.

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Me with Gwyneth, One Of The MIF Volunteers

Today we all said goodbye as we went our separate ways for a couple of weeks before we get back together again in Glasgow to prepare for the Edinburgh Festival.  We start our first performances there on the 8th August and run through to 20th August 2017.

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Sam Phillips, Laura Sergeant, Timothy Connor, Me, Stuart Semple, Sophie Skellern, David Sneddon

This is one of the duets from the opera that I sing with Timothy Connor

 

Here are some links to press reviews of the production:

‘The payoff for an initiative like this is incalculable…rarely has innocent pleasure felt more vital.’  Please read this review as it is an insightful article which delves into the accessibility of opera and pretty much sums up how I feel about it.

★★★★★ Fiona Maddocks – The Observer

‘Full marks to BambinO. Opera can work for babies, and maybe one day they’ll come to enjoy it as adults, too…’ 

★★★★ Robert Beale – The Arts Desk

‘…it was genuinely moving to see a little girl of no more than nine months giggling with delight as the soprano, Charlotte Hoather, imitated bird sounds during a playful yet beautiful aria

Sam Jackson – The Times

‘…the joy of something like this is watching the joy in your little one’s face.’

★★★★ Dianne Bourne – Manchester Evening News

This video about ‘BambinO’, from the FaceBook page of the BBC, has received over 1.3 million views so far !!

 

 

I have had a truly special and humbling week! It was the premiere week for Bambino as part of the Manchester International Festival. We have performed in 12 shows with over 258 babies, their parents and family, and some very special guests. It has been an exciting experience and I can’t stop smiling.

The Whole Cast and Crew

The Cast and Crew

I arrived in Manchester on Monday evening in Scottish Opera’s people carrier along with the team and the wonderful Stuart Semple who had driven us down from Glasgow. We settled into our apartments after being welcomed by the magnificent Manchester International Festival team (MIF). I have been working closely with Angela, Sophie and Tracy and many many wonderful volunteers over this week, all of whom have made the show a huge success.

For the first couple of days, we performed in the centre of Manchester in the Pavilion performance space, in Albert Square. It was wonderful to be performing at the heart of the festival and the vibe of MIF was incredible, hosting great food, drink, and music accompanied by a wonderful atmosphere. If you are in the area during the Festival it is well worth a visit.  It was here that I met Emma and Giuseppe Belli’s sweet and fantastic children. They came to watch the first performances in Manchester, making it extra special.

The babies in each show are very inquisitive and engaged in the performance. There is at time some crying but it rarely lasts for longer than a few moments so perhaps they are just overtaken with emotion 🙂    But as my Mum pointed out, there are a lot more chuckles, laughs, claps and plenty of singing along. Whatever their reaction you can guarantee that every show is individual and very special. And as our director Phelim McDermott said, ‘My hope is that in later years, there’ll be adults who are asked, when they’re at the Opera, what was the first opera you saw? and they’ll be able to say, Well, I was 11 months old when I went to see an opera” and they won’t be pretending when they say that.  It will be absolutely true’.

Drawing By Eva

I was thrilled that Eva Belli ( Aged 4 ) , Emma and Guiseppe Belli’s daughter, drew me this beautiful picture of Bambino.

Sophie, one of our producers, helped organise tickets for two other shows for us to attend in the evening after our daytime performances. I was able to go to Bridgewater Hall to watch the BBC Philharmonic perform ‘The World Was Once All Miracle’, and ‘Available Light’ a dance choreographed by Lucinda Childs at the Palace Theatre. It was a wonderful performance and took me back to my contemporary dancing days at Knutsford High School.

Available Light

After completing our performances in Manchester City Centre we started taking the show to places outside of the city centre such as Wigan and Hyde. These shows are so important and it brings music out to communities and venues that aren’t usually used for these events. Everyone deserves the chance to experience live music and theatre. I hope that this can continue!

In Wigan, I had the wonderful treat of my best friend Ellie and her family, Rory and baby Annabelle, come to watch the show! This made it extra special for me. I’m sure I’ll be visiting them again soon and we can sing the songs together. Ellie said Annabelle was mesmerised and that as well as Annabelle it was Ellie’s first opera too!

I’m having a day off at my family home tomorrow to recharge and then I’m back into a busy week ahead. I can’t wait!  We have performances in Heywood, Oldham, finishing in Salford.

To finish I must admit that it was very exciting to see the production mentioned in interviews for BBC radio and for the BBC Regional News I’ve shared the links in my facebook if you’d like to take a look.

 

Here is a picture of me with one of the designers, Giuseppe Belli and the Director, Phelim McDermott.

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Giuseppe Belli, Me and Phelim McDermott

One of the best things about getting involved with Scottish Opera on projects like ‘BambinO’ is that you get to work with a great team of amazing people.  Everyone has an important part to play taking the project from concept to final production, the Director, the Composer, the production team, the creative departments like costume and set building to the Designers themselves.  So much goes on behind the scenes to give us, the performers everything we need to bring the production to life.

To give you a flavour of the diverse range of skills used in an opera production one of the designers, Emma Belli kindly agreed to take part in an interview with me so that I could share a little insight into her world.  Emma works closely with her husband Giuseppe and they have been involved in many fabulous projects together.  Those of you who follow my blog may have seen some of their work before as they designed the sets and costumes for ‘La Rondine’ and ‘Sir John In Love’ whilst I was at the Royal Conservatoire of Scotland.

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Designer Emma Belli

Emma – What are the best things about your current job?

When I was about to start University, I saw a show at West Yorkshire Playhouse called ‘Shock Headed Peter’. It was one of the most enjoyable and stunningly visual things I’d ever seen at the theatre…. full of invention, music and dark comedy. It was Phelim’s show. So eventually getting to devise a project with him is a gorgeous thing. I feel so lucky that I get to work with lovely talented people and that I get to share this with my husband. The tremendous support of the Creative departments at Scottish Opera actually make the job rather easy. They can achieve anything you think up… and what a lovely project. It’s quite a gift to us as designers.

Is this work what you wanted to do whilst at school?

I come from a family of artists. My grandad advised me not to be one or marry one! …. because it is hard. You have to be very self-motivated and determined. So I thought I’d choose a job in the Arts that would allow me to use my wider creative skills…. But where I could get a job. I also liked history and English and was a frustrated musician. So, I started to think that theatre might be good. Then I went to a Pet Shop Boys concert. It was really theatrical and over the top. It was designed by a theatre designer David Fielding…. and I thought, ‘gosh, this is his job! I want a little bit of this’. So, at about 12 years old I started to tell people that that’s what I was going to be. When I was training, the landscape of theatre design altered and it was no longer possible to get a residency at a theatre. So actually, it’s been as hard as being an artist after all…. and I married one too! (I later worked with David Fielding on an opera production for Bregenz). I’ve never regretted pursuing it as a career.

What were your favourite subjects at school?

Art. Design Technology. English Lit. Drama and History. But I loved sport too…. and find it has lots of parallels with theatre.

Did you go on to further study, where, and what path did you take?

I did A levels at Bradford Grammar where David Hockney had given some money for a theatre. They gave me a key as I was so keen! I then went to Leeds College of Art and did a foundation year. Followed by Theatre Design BA Hons at Betton Hall which was part of Leeds University. I started an MA there too but in the same year won a design competition to design King Lear at Cambridge Arts Theatre and another competition where I won a training position with the BBC in costume. I didn’t complete the MA but moved to London to work in TV Costume… it felt like I just needed to go and get on with it.

 

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The set for ‘La Rondine’ at the Royal Conservatoire of Scotland

 

How did you meet your partner/husband? Do you always work together? How long?

I met Giuseppe at Bretton Hall. He was the Resident Designer on my degree. After university, he was working on a low budget feature film and needed a costume designer. He called me as I had just finished some training with the BBC. We were working closely together but neither of us wanted to mess up our friendship. It took a year of meetings for tea and cake, art galleries, theatre trips and London parks before we got together. We just wanted to make sure it was going to be right and have longevity. At first, I was working long hours in TV and Giuseppe was doing mainly film special effects. We started not wanting to be apart so much and finding filming was totally exhausting and pressurised. We began to seek a way to work together. It’s been about 18 years working together now.

Do you work all around the world?

I haven’t traveled that much for work. Some designers do…. our work has traveled more widely than we have! Once a show is designed, you don’t really need to go with it when it tours. I would find it very difficult to travel outside the country at the moment as I need to be around to be a mum too.

Where do you get inspiration for your designs?

Inspiration is part research, part experience and part gut instinct.

What’s your favourite part of the design process?

I like making models and getting them to look as perfect as possible…. and the anticipation of sharing the design for the first time with the Creative team and cast. Then I like opening night when the work is finished and the pressure is off!

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How difficult is it to manufacture what you visualise?

We carefully design to fit budgets and the support teams available. However, it’s surprising how often we do need to step in to finesse things. Between us, Giuseppe and I can do most things. We are very practical. We always pull it together even if we are let down. We are perfectionists and our own critics, and we keep our standards high. If we find a talented collaborator, we hold on to them for good! Over the years you find companies you trust and makers with a true talent in interpretation and realisation. Working at Scottish Opera is a joy because the skills and experience in the whole building shine.

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Has there ever been anything that you visualised that couldn’t be made? Did you make adjustments?

Part of the designer’s job is to consider practicalities and technical solutions, rigging, construction etc. It involves objects but also the space around objects, the way things move and work. If something wasn’t completely thought through, it wouldn’t leave the studio. This avoids costly mistakes and time wasting later.

What’s the work that you’re most proud of?

We made West Side Story in Wandsworth Prison with Pimlico Opera. Great piece, challenging environment, an enormous impact on all of us. Theatre as rehabilitation is an extraordinary thing. We were very proud of this production.

What are your hopes and aspirations for the future?

I just want to remain interested in my work, earn enough doing it and share the best bits with my husband. I hope I can pass on my love of theatre to my children as I feel it’s made my life very rich.

Do you have any hidden talents? E.g play an instrument, sing, yoga teacher, mathematician?

Hidden talents…

I’m brilliant at soldering?! (which I use model making)

I’m a great swimmer, played netball and hockey for my county. Represented Leeds at rounders and long jump! Hmmm…. very competitive!

We have a great and full kitchen garden…. which I love to do with Giuseppe. It’s bursting with produce right now.

I’m a parish councillor.

I make special birthday cakes for my children….. using all my model making skills!

I’m an expert on Angry birds, Minecraft, Dr Who, Lego, and Playmobil.

 

Thank you, Emma, for taking the time to answer my questions and I hope that you all enjoy reading her fascinating insight

You can check out more of Emma and Giuseppe’s work on their website.

Here is a link to Scottish Opera’s Facebook page with some pictures of the costumes designed by Emma for ‘BambinO’