Nell Golledge - Lighting Designer for Pegasus Opera's Double Bill
Central’s Principal Josette Bushell-Mingo OBE directs Pegasus Opera Company’s captivating double bill: ‘Toutes les femmes,’ featuring Roman Fever by Philip Hagemann and The Human Voice (La Voix Humaine) by Francis Poulenc, running from 12 to 14 April at the Royal Academy of Music’s Susie Sainsbury Theatre.
To celebrate the many Central graduates who have contributed their expertise behind the scenes, we’re launching a special blog series focusing on their work.
Nell Golledge, a student of our BA (Hons) Theatre Practice - Lighting Design course, talks with us about her work as lighting designer.
How do you see your work as Lighting Designer impacting the overall productions?
While discussing how light will play into these operas with Josette, she described it as its own actor, it will take charge and take up space; a concept I am intrigued to play with! A common theme of both these operas is the feeling of watching and being watched, and a huge part of my design will focus on this, playing with shadows to get that eery feeling.
Can you walk us through your process when starting a project of this magnitude?
Fortunately, I worked as lighting crew last year on Pegasus’s double bill, so I was familiar with the layout of how things come together, especially during the fit-up and tech week; but a process this large can be quite overwhelming, for me its important to have good relationships and trust in those working on this project with me.
I’ve had lots and lots of creative chats, and meetings with the set and costume designer, the director and the production manager. I am also very lucky to have previously known both my wonderful production electrician and programmer before this production, and it sure makes my job easier to know they are working with me towards a common goal, making this double bill look fantastic!
Reflecting on your experience studying on Central’s BA (Hons) Theatre Practice course, how do you believe the course has prepared you for your current role and your career so far?
I think Central has prepared me to be fearless and take on opportunities for myself and my career, as cringe as that sounds, it truly has helped me become a more confident artist. The ability to explore and play with light and new technology in lots of spaces around the school has helped me massively in understanding what the needs of a show could possibly be.
What do you hope audiences will take away from the productions?
The show is a full female cast and creative team, and I hope the brilliant work of all these female artists will be shown on stage. The double bill itself is full of raw emotion that each of us feel, the audience will be invited into this abstract landscape and hopefully see some of themselves reflected back.
Reflecting on your career to date, what standout moments or highlights come to mind?
A huge standout moment was my professional debut, just earlier this year, at the Footprints Festival at Jermyn Street. My role as lighting designer for the DONOTALIGHT company and their new writing piece The Beautiful Future is Coming was highly reviewed and received 5* in Broadway World, which was an insane moment for me!
Visit Pegaus Opera’s website for further details about the double bill and to book your tickets.
