Aspen Island Theatre Company 2014
Julian Hobba's adaptation of Melville's novella places humanity, productivity and technology at the centre of a contemporary Australian office. The play moves through the monotonous grind of workdays and nights, briefly diving into the boiling seas of Moby Dick and ending behind the glass of a hospital room.
The lighting colour palette was taken from a painting of the ocean, ranging from deep blue to mid amber and incorporating much of the daylight to incandescent spectrum in between. Although set in an office, effort was made not to sink too far into oppressive 'office lighting' but to build a design that stretched and travelled as far a possible within a naturalistic setting.
Max Cullen, Ben Crowley, and Dene Kermond in Bartleby by Julian Hobba after Herman Melville
Directed by Julian Hobba, Lighting Design by Gillian Schwab, Set Design by Christiane Nowak, Photos by Lorna Sim
The Street Theatre 2013
A chamber opera set during the 2003 Canberra bushfires, From a Black Sky placed the orchestra in the heart of the stage allowing the action to revolve around it.
Black Sky's lighting design used a colour palette with acidic tones to move from the monotonous heat of a summer day, through a swirling maelstrom of fire and into a formless smokey aftermath. Colour-wrapped fluorescent tubes were used to represent fire in a new way onstage, echoing both the office-lighting of local government and radiant heat sources.
Judith Dodsworth, Rachel Duncan, David Rogers-Smith, and Don Bemrose in From A Black Sky composed by Sandra France, libretto by Helen Nourse
Directed by Caroline Stacey, Lighting Design by Gillian Schwab, Set Design by Christiane Nowak
Bijou A Cabaret of Desire was a meta-histrionic gallop through the fortunes of Madame Bijou. Interspersed with European music of the 1930s, Bijou's story was performed across several small stages as she wandered through the cabaret seating singing, and fortunes for coins and wine.
Bijou was lit primarily with diffused fleshy tones which bled away to exposing open white as her mask falls away. Brechtian ballads collected cold harsh angles and patterned lavender decorated Satie's bohemian melodies.
Chrissie Shaw in Bijou by Chrissie Shaw
Directed by Susan Pilbeam, Lighting Design by Gillian Schwab, Set Design by Imogen Keen, Costume Design by Victoria Worley, photos by Sarah Nathan-Truesdale
The Street Theatre 2012
Kabir, Songs of a Weaver, and Chekhova, Remembering Anton, two solo works ruminating on the end of life. Kabir, a 14th century Indian mystic reflects as he ascends a mountain in his funeral cart. Maria Chekhova remembers her brother Anton from inside a museum she has maintained in his memory.
Lighting for To Silence was minimalistic and often single source, dropping in and out as elusively as memories. A cool-toned colour palette of lavenders and blues (the warmest colour used was a low saturate green) lent a night-time feeling as both characters approached eternal silence.
Raoul Craemer and Naone Carrel in To Silence by Subhash Jaireth
Kabir Directed by Caroline Stacey, Chekhova Directed by Camilla Blunden, Lighting Design by Gillian Schwab, Set Design by Imogen Keen, photos by 'pling
The Street Theatre / CADA 2010
Dallas Bland, Hanna Cormick and James Scott in Elizabeth Avery Scott's Lies Love and Hitler
Directed by PJ Williams, Lighting Design by Gillian Schwab, Set Design by Imogen Keen photos by 'pling
Elena Kirschbaum and Co 2010
The Blue Marquessa Ensemble in The Blue Marquessa
Directed by Gail Kelly, Lighting Design by Gillian Schwab, Set Design by Imogen Keen, photos by 'pling
Min Mae 2010
Still Standing by Min Mae, Jordan Best, Michael Ellis, and Alison McGregor
Directed by Min Mae, Lighting Design by Gillian Schwab, photos by 'pling
Capital Jazz Project 2010
Rocky Stone and the Fran Swinn Band in Inform
Lighting Design by Gillian Schwab, photos by 'pling
The Street Theatre 2009
Rebecca Collins, Ben Connor, David Pearson and Geraldine Turner in Jacques Brel is Alive and Well and Living in Paris
Directed by Caroline Stacey, Lighting Design by Gillian Schwab, Set and Costume Design by Imogen Keen, photos by 'pling
The Street Theatre 2007
Clare Blumer and Angel Giblin in Medea and The Jade Harp
Directed by Caroline Stacey and Diana Nixon, Lighting Design by Gillian Schwab, photos by 'pling
Grahame Bond 2011
Grahame Bond in My Imaginary Family by Grahame Bond
Directed by Maurice Murphy, Lighting Design by Gillian Schwab, Photos by 'pling
Cathy Petöcz 2014
Two plays in the same space about the search for self and the complexity of relationships.
Light years apart, two private detectives work on missing persons cases; Polly interviews a client in a café while Whathisname tracks a missing woman from his office in outer space. A powerful connection draws the two together, merging their two worlds and sucking three innocent bystanders into a single destructive reality.
Played in traverse on an elevated stage lined with frosted LED footlights, the foundational lighting for Where I End... evoked the intense scrutiny and distance of an examination table or a catwalk on which to view a series of clues. Bursts of candy colour and orbital gobos began to appear as the two worlds of the play began to shake and bleed into each other, shoestring LEDs drawing linear connection points between the jostling narratives. Lighting travelling travelled with the characters through a series of cafés, deep space, darks nights of the soul, the surface of the moon and back again, obscuring and revealing truths in a gloriously abstract work.
Raoul Craemer, Kate Hosking, Kabu Okai-Davies, Ylaria Rogers, and Dylan Van Den Berg in Where I End and You Begin by Cathy Petöcz
Directed by Caroline Stacey, Lighting Design by Gillian Schwab, Set and Costume Design by Imogen Keen, Sound Design by Kimmo Vernonnen
Photos by Thorson Photography