World Art Day got us thinking about the indispensable contributions of visual artists to our sector and the ways we rely on art when making theatre and telling stories. To mark the occasion, we sat down with Trish Mayes, a freelance scenic artist, to shine a light on this skillful but lesser-known role.
Written by Trish Mayes (edited by Sophie Ashley)
About Trish
You’ve worked on projects for our stages ranging from Jack’s beanstalk in last year’s Rock ‘n’ Roll Panto to Audrey’s tentacles for LGYT’s Little Shop of Horrors. How does your creative process start?
My process usually starts with talking to the designer, discussing their vision for the show and if they have colour schemes or reference materials to show me. If there is a model [of the set], I usually look at that too. It’s all a process of getting inside the designer’s mind and understanding what they are trying to convey.
The next step is more practical, discussing with production and technical managers what budget they have, the practicalities of the prop, how it will be used in the show, any health and safety factors and what size it needs to be. In the case of the tentacles for Little Shop of Horrors, I ended up making 320 metres of them! I will then create a design to discuss with the set designer and production manager.
Next, I source the materials, keeping in communication with the designer throughout so that they can oversee the work and make any changes. Once the work is complete, there may be a time when I come and install the prop on stage, making any adjustments in collaboration with the [production team]. Finally, we sit back and watch the magic!
Some painting handiwork for Pod 4 of Audrey II
Safety first! Trish in her safety mask. Credit: Trish Mayes
How did you first get into scenic art and theatre design?
When I was a teenager, my friends were involved in local amateur dramatics. I would go and watch rehearsals, but it never appealed to me to be in the limelight, so I [got] involved backstage, firstly as a dresser and later as stage crew. As we got older, the am-dram group offered us an opportunity to run summer schools. As a team of five, we would audition the cast, assign roles, make costumes, design and paint the set, design lighting and sound, and rehearse over two weeks. And it was a full 90-minute show! We must have been mad! I couldn’t imagine having the energy to do that now.
So, this was my taste of theatre, and I was bitten by the bug. I then went to Newcastle College and became qualified in Theatre and Media Production. However, back in 1999, the industry was smaller, and I found getting work locally in the North East difficult, so I fell into call centre work and that’s where I remained on and off for 20 years. I kept involved with local theatre groups and ran my own creative businesses over the years.
In 2019, I had a back injury that led to me being in a wheelchair for a time and it made me re-evaluate what I wanted from life. I decided to return to education and study Fine Art at Sunderland University, winning a scholarship that allowed me to build an art studio in my garden [while the university was closed during COVID-19].
During this time, I struggled to think about how I could convert Fine Art into a practical, viable business to support my family. I reached out to a friend at a theatre in Hartlepool and started making set pieces and props. It was there that I met a couple of lovely girls studying Production Design at The Northern School of Art, and I took the plunge and changed course. It was the best thing I’ve ever done; I cannot recommend the course enough. I started to find work with Northern Stage, and this led me to work with the BBC, Live Theatre, The Baltic, and many more. The rest is history!
Tips for budding artists
What would your advice be to any young people interested in the field?
When I tell people I work as a scenic artist, the majority have no idea what the role is. When you watch TV or go to the theatre, you aren’t looking at what scenic treatment was used to make the brick walls look realistic. Good entertainment makes those aspects seamless, which is why scenic artistry is such a hidden role.
If you’re interested in the industry, learn how to paint and decorate properly, [as] these are skills you will use frequently. Build up your skills in paint techniques, like wood graining and recreating metal, stone, marble and faux finishes. Scenic art is not just about creating paint treatments; my role has found me learning [all sorts of skills, including] fabric dyeing techniques. Start networking and find Facebook groups for theatre, film and TV. When you watch a film, make a note of the art directors, production designers, and scenic artists, and follow them on social media.
I run an online course introducing beginners to the industry, covering everything from working with designers, how to run your own business as a freelancer, the tools and kit we use, and a huge range of tips and techniques.
Keep an eye on Trish’s website for the next course.
Trish with young people at the Theatre Design workshop. Credit Aaron Cawood
Cardboard set piece creations in the Studio. Credit Aaron Cawood
We loved running our LHT Unwrapped: Theatre Design workshops together in the April school holidays. What went into planning a workshop for young people? Why did you decide to work with cardboard?
The planning process started with a conversation with Imogen [from the Learning and Engagement team], where we discussed what we could practically deliver over two days, where the young people would gain the most knowledge and have a great time making something. We talked about the ‘Play in a Week’ concept and [Imogen’s idea to take inspiration from The Varieties’ music hall history]. We decided to use some theatre playbills from the archives to throw back to the incredible history of this amazing building.
We then discussed the idea of using cardboard. In theatre, we try to adhere to something called the ‘Green Book’, which is an initiative to make theatre more sustainable and environmentally friendly. Using donated, recycled cardboard is a fun and practical way to get young people involved in building and creating sets. I designed a set model as an example, but that was a guideline, and the young people were able to have their own input. I think that for some of the older young people it felt like being a little kid again and making cardboard houses!
Quick-fire questions
What has been your favourite project to work on to date?
It might be cheesy, but it really was working on LGYT’s Little Shop of Horrors. Getting to have the creative freedom to design the tentacles and the floor on that project was fantastic. The team is incredible. Lizi, Ashley, Imogen, Stephen, Dave, Mark and loads more all have one priority in mind, and that is ensuring the young people have the best experience. Seeing the reveal of the set for the kids was just such an uplifting experience after months of hard work. The joy they experienced was priceless.
LGYT with Audrey II and her tentacles created by Trish. Credit: Chris Coote
What are you excited for about LGYT’s Charlie and the Chocolate Factory? What can audiences expect from this year’s musical?
Charlie and the Chocolate Factory is going to be amazing. I am excited to be working with the team again; the energy they bring to the project is infectious. Audiences can expect to be blown away by the talent on stage and dazzled by bright colours, bright lights and raucous sounds. I hope no one misses out on the one-of-a-kind experience that the cast and crew bring to the stage!
