Stage design is almost always crucial to any performance. The look and feel of the performance environment, the colours (or absence of them), the use of lighting and of shadow, physical objects and the layout of the space, transitions, special effects – they all affect how we react to what we’re viewing on the stage or in the arena.
Coldplay’s music doesn’t need that huge lighting rig or those stunning visuals: but there are good reasons why the live show is so very different to hearing the same music at home on Spotify. TED talks work because of their low-key but oh-so careful staging. Even catwalk fashion benefits – Kate Moss in hologram form, Chanel’s seminal fall 2014 ‘supermarket’ show. And whether or not the temperature actually changes, a strong set and technical design for The Woman in Black, Wait Until Dark or even Macbeth can send a shiver down the spine.
It’s an exciting world, and like any aspect of design it’s also functionally important: it explains, amplifies, emphasises what’s happening. And it’s celebrated every four years by World Stage Design, an extraordinary international festival of exhibitions, performances, workshops, talks and panels where professionals share ideas and mingle with the consumers – and this year it’s coming to Sharjah.
WSD25 is being organised by Sharjah Performing Arts Academy, and Jacqui George (right) is Project Director. Jacqui has been in Stage and Production Management for the last 25 years, and she’s worked in both both the professional and educational sector. She’s also been part of the senior leadership team at SPAA since its inception, where she has designed and implemented a performing and production arts undergraduate programme.
“These days my work is broader, looking at arts leadership as a model to support many different sectors, projects and productions, but I always come back to how we develop the industry and make sure it’s fit and healthy for the next generation.
“I love connecting people, and that’s the best part of theatre and performance – whether through the process of creating a production or being part of its audience, we bring people together for that experience. I’m a huge fan of true collaboration, how a certain group of people working together makes for something unique.” Indeed, Jacqui has co-authored a book on the subject that’s being published later this year.
In the region there’s probably no one better qualified to run WSD, both in terms of principles – what kind of event, how it works, who’s involved, who benefits – and the practice of putting it all together. The lead-up to WSD is lengthy and detailed (OISTAT has a substantial manual detailing requirements, timescales and deliverables) and applying for and actually running WSD is not a trivial commitment.
So it must have taken a leap of faith to offer the still relatively new SPAA as the host for such an important event fully four years ago (it takes that long for OISTAT to evaluate contenders). As an associate member of OISTAT, Jacqui George was on the distribution list for the open call for WSD hosting; she convinced SPAA executive director Peter Barlow that it was a good idea to apply, Sheikha Hoor al Qasimi of Sharjah Art Foundation agreed, the Arabic Theatre Institute came on board, and HH Sheikh Dr Sultan bin Mohammed al Qassimi offered support. And OISTAT named Sharjah as the host for WSD25 in September 2021.
And what can Sharjah and the UAE generally bring to WSD? Jacqui George argues that the theatre ecosystem here is rich and diverse, with many festivals and excellent institutional programming. “People may be aware of the calibre of the large-scale events that happen here, but less is known globally about the incredible theatre work, and linked to that the design work, that is happening in the region. By hosting WSD25 we can introduce that to the rest of the world”.
The theme for WSD25 is Tomorrow’s Heritage. This is the classic balance of the UAE: “we have to admire the speed of change, innovation and development here. This we do while also respecting, acknowledging and embracing Emirati culture and heritage. We embrace the stories; we enjoy the creative and we respect the history. Tomorrow’s heritage is today’s exploration.”
She’s concerned to insert Sharjah and the UAE into a wider conversation, building up the local capacity while burnishing the profession’s credentials internationally . “We wanted to ensure that WSD will be both a local and a global event. How else do we grow our practice as a community of designers, theatre technicians and architects? By bringing that conversation to Sharjah with WSD25 we hope to grow the sector both here in the region and globally.”
This means that WSD should have an ongoing legacy in fostering a culture of performance design engagement and practice within the region. “So we’re currently running a schools programme, delivering workshops in schools to introduce process and techniques in costume and lighting design. Students then have an opportunity to create designs and submit them for a selected shortlist to be shown alongside the professional exhibition; and the students attending will have the opportunity to take part in discussions and activities with professional designers from across the globe”.
Sustainability is another underlying theme. “The theatre sector isn’t the best at working sustainably. and we’re known for throwing quite a lot away! We have asked all of our participants how they embed sustainability into their practice and how can we showcase that at the event. If you look at our programme, you’ll best practice showcased at many of the sessions.
“At a more local level, we’re working closely with suppliers who share the same ethos as us. For example Taylex Group is supplying beMatrix, probably the most sustainable exhibition system available. DGrade has made our WSD merch from recycled plastic bottles. And we’re also working with Goumbook, a UAE social enterprise with whom we’re committing to plant a mangrove sapling for every full pass purchased – it’s a contribution to the UAE’s target of 100 million new mangroves planted by 2030.”
Other initiatives include the development of an Arab Green Theatre Network, which will be publishing an Arabic translation of The Theatre Green Book from Renew Culture. First published three years ago and now available in ten languages, The Theatre Green Book is a complete reference for sustainable theatre that includes a planning framework for planning, best practice guidance, standards to follow, and a measurement system. The English version is available online here, and the Arabic edition will be launched at WSD in October.
A WSD25 volunteer programme will launch later this year. “Applicants won’t need to have experience in theatre or events but they will require a passion, enthusiasm and curiosity to connect with creative people. We’ll provide training and you also get to experience first-hand the different activities and events.”
Indeed, Jacqui says WSD25 have be something for everyone. “We will welcome international professional and academic performance designers from all disciplines of costume, set, space, lighting, sound, video and object design. Theatre architects and technicians too. And we also will be welcoming people who are not directly involved with performance design but who enjoy the design process or are just curious about it”.
After all, as she says: “When else do you get to experience the 100 best designs for performance from the last four years?”
What’s at WSD25?
International Design Exhibition and Competition This platforms individual designers from across the globe, showing work that they have created in the previous four years (no hypothetical designs are allowed). Applications to WSD25 closed in November last year with just over a thousand submissions; an international jury of 16 members is currently shortlisting the top 100 to show in the exhibition and compete for the awards.
Theatre Architecture Competition The TAC explores new ideas about theatre architecture and interdisciplinary cooperation. Architects and theatre makers submit their proposals for a performance space in a given location – which this time will be the courtyard at Bait Obaid al Shamsi in the heart of Sharjah. Collaborations between architects and other theatre practitioners such as directors, technicians, performers or musicians (and/or students in those fields) are encouraged.
Technical Invention Prize The TIP competition invites theatre technicians worldwide to share simple and smart solutions in everyday stage practice – innovative gadgets, devices, or any other effective solutions (often crafted using affordable materials and available resources). While some inventions may be used only in a specific theatre, company, touring production, or even within a single country, the TIP provides a platform to share them with the international community. All competition entries are published in a catalogue as a reference for industry professionals and educators.
Scenofest This is the festival component of WSD, celebrating scenography with around 60 talks, masterclasses, panel discussions, themed mini-exhibitions, and immersive installations and performances (from New Zealand, Hungary, the UAE, Indonesia, UK, Nigeria, “and many more” in a very full programme running 10am to 10pm each day. Also part of Scenofest is a one-day Research Symposium celebrating “global perspectives, insights and approaches to research in theatre and performance design, architecture, and technology”. The full programme is here.
Sound Kitchen A biennial opportunity for sound designers and composers to publicly present or perform their work in a listening-friendly space. Presentations may be compositions (or extracts from longer compositions), sound art, sounds from an installation, or sound scores from theatre or live entertainment; pieces are typically 10-20 minutes with an opportunity to discuss the work afterwards. There’s more information here.
World Stage Design 2025 is being held in Sharjah from 18 to 25 October. The main venue is Sharjah Performing Arts Academy; TAC and some Scenofest events will be at Sharjah Arts Foundation’s Bait Obaid Al Shamsi; and the TIP will be at Sharjah Research Technology and Innovation Park. Full details of World Stage Design are here, and tickets are on sale now – day passes are AED 50 and an eight-day pass is a bargain AED 250; both include all performances, workshops, talks, exhibitions, and Scenofest.
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