Interviews with Creatives
Interview With Fight Director Kate Waters
Hear from The Tragedy of Macbeth Fight Director Kate Waters (Kombat Kate) on the challenges and everything that needs to be taken into consideration when choreographing fight scenes as well as some advice for those looking to pursue a career in Fight Direction.
Interview With Sound Designer George Dennis
Sound Designer George Dennis talks through his creative process on The Duchess of Malfi.
Interview With Designer Miriam Buether
Miriam Buether’s designs are regularly seen onstage at the Almeida including in Albion, Shipwreck, Machinal, Boy and Game. In this episode of our podcast, she talks to Artistic Director Rupert Goold about her design process, growing up in East Germany, and her advice to emerging designers. This podcast was recorded during the lockdown caused by the Coronavirus outbreak in 2020.
See more of Miriam’s designs here.
Interview With Composer & Sound Designer Adam Cork
Olivier and Tony Award-winning composer and sound designer Adam Cork (The Hunt, Ink) talks to long-time collaborator Almeida Artistic Director Rupert Goold about how he creates the sound of a production. He also discusses the creation of the critically acclaimed musical London Road. This podcast was recorded during the lockdown caused by the Coronavirus outbreak of 2020.
Interview With Lighting Designer Lucy Carter
“Every script has a different challenge. I think in theatre, the biggest challenge is trying to create the right emotional lighting environment is time – the technical time to actually try things and experience them and watch the show under those environments and then make tweaks. That’s always I think is my biggest challenge, having enough time to get it right.”
Interview With Composer Michael Henry
“Something that is always fun is, you can write a theme, you can take a snippet of that theme and just stretch it around to create vocal collages – an individual who doesn’t call themselves a singer might think it’s just a bit weird holding this long note, but when 12 people are doing it you have this rich effect. That kind of stuff is always a lot of fun.”
