Creating an animated visual landscape when developing the virtual reality opera Current, Rising was difficult. The more we tried to make it ‘feel real’, the less real it actually felt. Why?
Some design ideas enhanced and others ruined the feeling of being immersed another world. In this post I share the good ones – and the ones to avoid like the plague.
When the pandemic hit, the only opera project the Royal Opera House could continue working on was an unlikely, experimental collaboration between ROH’s Audience Labs and a VR studio.
But how do you begin to shape a new original opera in hyper-reality on Zoom? As the producer, I had to re-think the creative development process – here’s how to do it.
How might you bring a ‘difficult’ museum object – say a Victorian manuscript – to life to encourage teenagers to pursue their own creative endeavours?
A few of us at the V&A, together with immersive theatre experts Punchdrunk set out on a mission to create an immersive experience for them about Charles Dickens.
Explaining how a complex product comes together to an audience can be hard. How much logic is enough logic, and when does detail become too much detail in a talk?
With my theatre director’s hat on, I’ve put together these tips around how I shaped my product story as a speaker at the product makers’ conference JAM London.
Why laughter and ridiculousness are so central in my theatre company Parrot in the Tank’s approach to making work about depression, as we unpack what writing a comedy about depression is really about.
Post written together with my colleagues Sam Bailey and Joe Connor, originally published in Exeunt Magazine.
A year ago, Black Dog Gold Fish by my theatre company got funded on Kickstarter. Now we got Arts Council funding to open the show again in London.
It's been even more brilliant to see that we're not alone in bringing depression to public attention. How can we all get involved to remove the stigma around it?
