And it’s time for Boheme in Cardiff.

This is the last show that I have booked in before I go on leave from the lush and late nights in September (though late entries in my schedule have been known at this time of year!). It’s funny how this fact focuses the mind. Since the beginning of Dutchman, I suppose have been considering not only what kind of and impression I will leave behind in my absence (you’re only as good as your last show, so some say) and also looking ahead at the brain space (or at least distance) I hope to get from my time out. I feel it’s a good time for me to appraise my practices and I feel with the past two shows, the process has already started in some way.

In reality, the planned 6 month hiatus is not a great deal of time in Theatreland: I tend to begin being involved in shows a year before they open and with Faust in the offing, that process has not stopped. I even have an inquiry for a show in 2014. I suppose it’s the big psychological life change that will make it seem so long for me at least. I’m already having to consider what to do with the baby when I travel to give a talk in Nottingham next April. Crazy.

When I broke it to the team here that I am pregnant, the response has again been overwhelmingly positive – even from the LD who brought me on board. I would hate to think I’d jeopardise the success of a recommendation he’d made by being knocked up! He liked that expression. What made me laugh, though, was the fact that WNO need to carry out a risk assessment on me. There’s a first!

I am looking forward to tech. There’s a good feeling around this show, as there was with Dutchman. And I’m glad that went well so I have that success to remember and bring through the next year and out the other side. Let’s hope this is the same. I can’t deny I’m also looking forward to coming home afterwards: I have a holiday planned but most of all, I am looking forward to sneaking in the odd afternoon nap!

On Saturday, the ENO’s new production of The Flying Dutchman by Richard Wagner opened at the Coliseum in London. This daring new production is directed by Jonathan Kent, designed by Paul Brown and lit by Mark Henderson and with myself designing projections on behalf and with the help of Knifedge, as ever and with Jane Michelmore, ENO’s in-house programmer. The movement director was Denni Sayers, who deserves credit in particular for making sense of a rowdy sea of extremely up for it chorus members and actors.

Act 1 - The Flying Dutchman

Edward Gardner conducted a thrilling and pacey show that kept everyone on the edge of their seats and filled the Coliseum to the brim with expansive melody.

Our video projections play an important narrative role throughout the production, revealing the tale of the The Dutchman to be a recurring figment of the main character’s imagination.

In a dramatic overture, the audience sees a child in bed at the heart of a dark and wild storm, surrounded by the crashing waves of the storybook she clutches.  This sets up the director’s concept of the progression from a child’s reality through a woman’s fantasy to a final obsession.

From a technical perspective, the kit consisted of 6 Panasonic projectors, 12 on-stage video monitors, 3 Catalyst Media servers and a Hog lighting desk.

Overture - The Flying Dutchman

Overture - The Flying Dutchman

The show runs in rep at the Coliseum until 23rd May 2012. More information. All Photographs © Robert Workman

The Independent ★★★★   The Telegraph ★★★★  The Evening Standard ★★★★   The Daily Express ★★★★ Opera Britannia ★★★

Check out my Twitter feed on the right or at @nina_pixelpixie for some great mentions for the projections.

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