TBI Q&A: Robin Rawstorne
Robin Rawstorne has worked on a range of high-profile projects since moving to NZ four years ago, including his upcoming set design for the NBR New Zealand Opera’s production of The Marriage of Figaro.
Robin is also enjoying his new environment, harvesting honey and staring out from his studio over the bush clad hills of Titirangi. “It sure beats a concrete studio in darkest Hackney.”
See his answers, in the comment box below, to The Big Idea community questions about his work on The Marriage of Figaro.
* * *
Robin Rawstorne was born in Paris, and moved to England when he was 7 years old.
Based in London, he followed his passion for storytelling using innovative and stimulating design within the 3D environment experience, and studied under Alison Chitty at the world renowned Motley Theatre Design School.
He immersed himself in large scale opera productions with acclaimed Production Designer Antony McDonald amongst others, working for The Metropolitan Opera House NYC, Le Garnier Paris, Bregenz Opera Austria and Munich Stadt Theatre. He also worked on a variety of theatre projects which included The Peter Hall Company and The Royal Shakespeare Company.
While based in Europe, Robin worked on an extensive variety of global creative projects within the fields of opera, theatre, live events, advertising, exhibitions and television.
Four years ago he moved to New Zealand where the diversity in projects continued. Some of the highlights have been – Architect for St Clare’s Garden Centre in Te Kuiti, Designer for NZ Vodafone Music Awards for the last three years, Creative Director for The Living Lounge / Splore Arts and Music Festival 2008 & 2010, Experiential Designer for Absolut Collaboration, Set and Costume Designer for Southern Opera’s The Magic Flute.
This year he is designing his third play for The Auckland Theatre Company and is Set Designer for the NBR New Zealand Opera’s production of The Marriage of Figaro.
During what hours of the day do you feel most inspired?
Dawn and Sunset walks with my dogs in the Waitakeres
How would a good friend describe your aesthetic or style?
Magical on a good day!
What aspect of your creative practice gives you the biggest thrill?
Working in teams of inspiring people and pushing them to excel
How does your environment affect your work?
Hugely I now realize, as I stare out from my studio over the bush clad hills of Titirangi, it sure beats a concrete studio in darkest Hackney.
Do you like to look at the big picture or focus on the details?
I love the big picture, the wilder the better, plucking the ideas from the ether as it were.
I also greatly enjoy the process of working with different disciplines on the details.
What's your number one business tip for surviving (and thriving) in the creative industries?
Adapt to every situation, with conviction, dedication, and creativity.
Which of your projects to date has given you the most satisfaction?
My new baby boy ARTHUR ZEPHYR RAWSTORNE.
Who or what has inspired you recently?
My amazing beehive, which I started this year and I just harvested 90 pots of delicious Bush honey.
If you could go back and choose a completely different career path to the one you've chosen, what would it be?
Beekeeper.
What place is always with you, wherever you go?
Early childhood 1970s south of France.
What's the best way to listen to music, and why?
Always Live, immersed in the glorious world of live sound.
You are given a piece of string, a stick and some fabric. What do you make?
Shelter.
What's the best stress relief advice you've ever been given?
The storm really doesn’t matter till the storm begins to get you down.
What's great about today?
Starting work on three new projects.
What’s your big idea for 2010?
I would like a million dollars to make the most amazing event on an island. Any takers? You won’t regret it!
The Marriage of Figaro
The Marriage of Figaro is a comic opera. The action takes place over one crazy, passion-fuelled day. Bustling with preparations for their imminent nuptials Figaro and Susanna's love and fidelity are tested to the limit as the couple scheme to outwit the philandering Count Almaviva's designs on the bride! A neglected Countess and an amorous adolescent add to the hi-jinks as a hilarious jumble of plots, double crosses and seductions ensue.
The NBR New Zealand Opera’s production of The Marriage of Figaro opens in Wellington on Saturday 15 May and in Auckland on Thursday 3 June. Further info www.nzopera.com
Comments
6 May 2010 - 13:57 PM
Thank you for your questions for Robin Rawstorne about his work as a Set Designer for the NBR New Zealand Opera’s production of The Marriage of Figaro. His answers are below.
Congratulations to Sally Markham, who has won a double pass to the opening night in Auckland on June 3.
Hi Robin,
What has been the most challenging aspect of the set design for Figaro?
Theresa
Hi Theresa,
The greatest challenge for this production was creating a constantly evolving landscape of the Castello through scenic elements, and making them move seamlessly and without interruption to the narrative.
R
If you could bring that show to another country, where would you take it?
Stay positive.
Hi Luiza,
I think our approach for this production would work very strongly against the backdrop of Tokyo or another 21st Century hi-tech city.
I also very keen to spend some time in Melbourne so that would be high on my list.
This would complete the mix of the old word and new world.
Hi Robin,
What first attracted you to working with opera?
What was your 'hook' that started your creation of set for Figaro?
And any hints about what to expect? ;^)
Peter Cresswell
ORGANON ARCHITECTURE
~Integrating Architecture With Your Site~
P O Box 108054, Symonds St, Auckland
(09) 631 0034, (021) 120 9443
organon@ihug.co.nz www.organonarchitecture.co.nz
Hi Peter,
Opera offered an intense journey from incept to completion, with small team initially, and culminating
with up to 300 people in the team by the time the production goes "live" this is a constantly evolving
process and never two days are the same.
Figaro was an easy "in" as Aidan (director) had a clear vision for this production, namely that we the audience are a camera roving through the Castello following the characters.
I hope you can expect a thrilling evening, within our constantly evolving landscape.
Cheers R
What kind of music do you love most yourself?
Do you listen to anything in particular when you're feeling in a creative mood?
Cheers, take care!
Tom
Hi Tom,
Music in my life is a very "living" force and it affects me deeply. I have listened to all forms of music and listened wide and far. I find music a clear way into many cultures, when language is a communication barrier, music is a real link to a culture.
I am listening to an amazing duo called Cocorosie at the moment, to be followed by soundtrack from film about Bob Dylan I'm not there, whilst designing Music Awards 2010
Hi Robin
How did you get into Set Production Design, also is it easy to get jobs in New Zealand?
Thanks Sophie
Hi Sophie,
I began working in stage management and learning the craft, before assisting several designers.
I studied Set Design in London at The Motley Design Course. Then inched my way up the ladder as it where.
NZ offers a diverse list of projects, but one has to remain adaptable and resourceful.
Hi Robin,
How and when were you introduced to opera?
How much do other productions influence your work?
Elizabeth
Hi Elizabeth,
My father listened to Opera. My first job after studying Stage Management was as ASM on a filmed production of Mozart's Don Giovanni. I was hooked!
I spent many years seeing productions the world over, all these different styles have influenced me.
I worked alongside Director Richard Jones on several productions, his style though modern and abstract always retained the humanity of the characters, this goes to the heart of the storytelling nature of Opera.
Hi Robin
I was intrigued to read about the 'cinematic' approach to Figaro mentioned in the recent Listener article - what design opportunities did this present and how did you marry this with the opera's historical context ?
thanks
Sally
Hi Sally,
The "Cinematic" approach you mention was a conscious decision between Aidan and myself. The story unfolds over a single day in a Castello in rural Spain, within the many rooms and garden of the Castello. We needed to find a way of showing these many spaces.
We used a 17th Century theatre technique of sliding flats to re-create the different rooms within the Castello.
We believe that this aids the storytelling of the piece which as you know is fantastically intricate and complex. By clearly showing all the different rooms of the Castello.
By choosing to set the production in period we feel the historical context has been addressed, the filmic approach merely a tool to let the plot unfold.
Congrats on winning the tickets, i hope you enjoy the show.
R
Hey Robin, when you create your set design do you take design aspects from previous performances that you have seen and liked or do you try reimagine it completly.
Hi Brad,
With Figaro, as with most well known pieces the previous incarnations can weigh heavy on ones mind.
However i try to go back to the story and with the director decide what interpretation of this story we are trying to impart to our audience.
I try not to watch other live or recorded versions of the show, and simply read the script/libretto, with the aim of keeping my mind clear as possible.
R
How much affinity do you feel with a character in a Bergmann film?
Robin, the plan sounds fantastic.
If you going to Tokyo, let me know and I could try to help out with accommodation there for you.
Stay positive.