11 September 2018
I am so pleased to say that Brigitte's site is now live. Her work is amazing, Brigitte herself is absolutely lovely to work with. The gorgeous imagery is showcased in a fluid fashion that is easy to access for busy directors and agents.
Well, back to work after one of our busiest summers...
17 February 2017Hi MLE,
Creative Review design magazine complied a list of their Top 20 logos of all time, and it’s been really interesting to learn about these logos that have stood the test of time. I’ll share with you the main points of each one, starting with the National Theatre logo…Concept Development- Henrion himself, the founder of FHK Henrion’s London studio pitched a concept, but it was not chosen:- Instead the concept of one of his design assistants, Ian Dennis, was chosen. Inspiration was found in the “NT” on the cover of one of the trendy magazine’s of 1974, Avant Guard:
- The logo went through a number of iterations, luckily including the removal of a curved outline around the logo, because it was hard to reproduce in hand cut vinyl.- The official version just happened to echo the brutalist architecture of the National Theatre, though this was not intentional, as Denis had never even really seen the building as it was under construction at the time:Its Success- Practically, it is really great to use. It reads well and looks great in very small and very large sizes. Roughly square, it fits perfectly into landscape and portrait formats:- Over time, it was decided that the full name needs to be more prominent, so a much less memorable generic logo was created that is used most often:
Have a nice weekend!
13 January 2017
Purni Morell is the artistic director of the Unicorn Theatre here in London. I first met her when we met to redesign their site. She impressed me right away by the way she envisioned creating children’s theatre. Create it as you would any other theatre. Treat children like equals. Don’t dumb down.
This was quite different from my experience. Perhaps this is partly due to being from North America, where so much is dumbed down, it seems…
In this article for The Stage, Purni says, “I’m often asked why it is that there is so much excellent work for children coming out of Belgium, Holland, Germany and Scandinavia. I don’t think it’s about funding or longer rehearsal periods or purpose-built buildings – most of that is not true anyway, much the same pressures apply there as here. No, simply, in those countries, children are treated as people, with respect… In those countries, children start school later, they have fewer tests, and society gives them room to discover who they are, to understand adults and to be understood by them, as equals.”
My husband Daniel and I see shows at the Unicorn all the time and we love it. Just as good, and often even better, and ‘adult’ theatre.
Purni goes on to list five things to change in children’s theatre in the UK, summarised below:
1) Stop treating theatre for children as ‘provision’ and start treating it as art.
- More commissioning does not necessarily create better art.
- Until theatre for children is commissioned and created by artists in the same way as any other piece of work, we are doing our children a disservice.
2) Just call it all theatre and don’t focus so much on differentiating who it is for.
- Stop using phrases TYA (theatre for young people); CYP (children and young people) etc.
- Really great work reaches everyone, regardless of age.
3) Stop using the words ‘charming’, ‘enchanting’ and ‘magical’ in marketing copy and in reviews.
- Nobody of any age, considers his or her life to be in any way charming, enchanting or magical. Fascinating, yes. Interesting, yes. Confusing, complex, extraordinary, astonishing, changeable – yes, yes, yes.
- We go to theatre for more interesting and complicated reasons. And so do children.
4) Adults experience the theatre with kids as you would with adults.
- Pay attention to what children are listening to in the theatre without interfering, offering beverages, shushing or asking whether everything is okay or whether they understand.
5) An end to all-white casts, across the board.
As Purni says, “Children are not the future. They are the present. They’re actually here, now. Let’s start making better art on that basis.”
24 December 2016
It's that time of year again for annual reviews of everything - which I quite really like. Something satisfying about an annual review.
Just got the one above from one of our clients, Wilton's Music Hall, it's lovely, thought I'd share. At a time when theatres are really struggling from funding cuts, rent rises and so on, it's great to see that Wilton's is doing really well. John Wilton opened his "Magnificent New Music Hall" in 1859 and after much hard work and campaigning, it is once again a great performance venue.
The site we built for Wilton's is here.
Bring on 2017!
28 October 2016
As you know, we built the site for the London theatre company Tangled Feet quite some time ago, but still, we had never been to one of their productions - well until this week. I knew that Tangled Feet shows are quite physical and feel 'live' and in the moment, and it was great to actually experience this. The actors jumped about and really used their bodies to express themselves and there was a great atmosphere.
This is a story about parenthood, as we follow two different couples as they deal with the arrival of their baby and the first year of childhood. It is not a Disney story, where everyone is perfect and there is a predictably happy ending. Here, parenthood is very complex, sometimes wonderful, and sometimes not. There are high-pitched voices of adoration, caos, post partum depression. We watch how parenthood changes lives, ultimately ending the relationship of one couple, while the other couple stays together despite the end of their party lifestyle.
We swap focus from one household to another, each linked together with comments from the Midwife (played by Laura Mugridge who was amazing), and songs played on children's instruments.
Really enjoyed it. You can learn more here: