Tom Scutt has called on the sector to “recalibrate” the role of designers in theatre, warning that the combined effects of Brexit and the pandemic has left him and his counterparts having to “relearn how we do our job”.
Scutt, who picked up the Tony award for best scenic design of a musical for his work on Cabaret at the Kit Kat Club, said that rising costs in theatre had "really screwed everything up" for designers and had left him and his peers having to rethink their roles.
"Everything you have built a shorthand for over the years – of how much you think things costs and how much time it will take – goes out the window. You have experienced, seasoned professionals struggling with a whole new way of thinking," he told The Stage.
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However, he said this presented an opportunity for change and for the sector to rethink the role of designers.
"It’s an invitation for audiences, critics and industry to recalibrate what a designer does on a show, as I don’t think it has to be about materials," he said, adding: "It’s an expectation or a given that material costs are going to be very high, but for me, design is about problem-solving – it’s about interfacing with all the different departments to creatively produce... something that doesn’t necessarily have to have exorbitant costs.
"I would love there to be a sea change in what we as an audience expect from what we see on stage. For me, it’s about spaces, about how you change a space to change the people that come [to theatre] and for it to be inviting to a wider audience."
Scutt said Cabaret utilised a circular stage with "nothing in the middle of the room".
"It’s about the space we’re in and that is a more exciting way of thinking to the future of design," he said.
Scutt also said that, coming out of the pandemic lockdowns, he and his peers had an urge "to stand up and be the people that we want to be".
"And so it was very important Cabaret was inclusive and representative of the people in the show and the stories in the show," he said.
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