Assisting as a construction draughtsperson for the technical drawings of the 2018 Royal Opera House production of Lessons in Love and Violence was a captivating and challenging journey. This contemporary opera, known for its intense narrative and modern backdrop, required meticulous attention to detail to translate the director’s vision onto the stage.
The set design, masterminded by acclaimed designer Vicki Mortimer, was both strikingly simple and sophisticated. It featured sleek, minimalist structures that demanded precise engineering to achieve the desired visual and functional effects. The challenge lay in creating a space capable of seamless transformation, reflecting the opera’s diverse range of moods and scenes, from intimate moments to grand political statements.
A notable aspect of the design was its innovative use of rotation, giving the audience the impression of viewing the set from various angles within the room where the play was set. This presented technical challenges, such as concealing windows within walls, enabling smooth movement for stage access, and maintaining the illusion without obvious join lines.
Our personal focus was on bringing the fishtanks to life. Through collaboration with Audio Visual design specialists, ArtAV, we embarked on research and development sessions to create tangible fishtanks that appeared physically present rather than digital. This involved crafting intricate timber and steel surrounds, Perspex shells, and integrating high-definition LED panels for realism.
Reflecting on this project, we are reminded of the pivotal role technical drawings play in theatre. They serve as the bridge between creative concepts and their real-world execution, allowing audiences to fully immerse themselves in the powerful storytelling. The 2018 production of Lessons in Love and Violence stands as a testament to the significance of meticulous planning and collaboration in crafting compelling theatrical experiences.
- Director – Katie Mitchell
- Designer – Vicki Mortimer
- Head of Construction – Mark Pursey
- Lead Draughtsperson – Nathan James
The fixed set, a box painted dark blue with a bed, some Bacon paintings and a large tank of shimmering, quivering tropical fish, is seen from different angles as the work progresses.
Fiona Maddocks, The Guardian
