Starting in the live performance industry

Live performance includes all kinds of live theatre and events: drama, dance, musicals, opera, ballet and live events such as concerts and community festivals.
A designer working in live performance might work as a set designer, costume designer, lighting designer, video designer or makeup designer. Designers may choose to specialise in one of these fields, or may combine them, for example practising as a set and costume designer, lighting and video designer or lighting and set designer. Live performance roles, especially in the independent sector can be quite fluid, adapting to the creative needs of each project.
A live performance designer usually works as a freelance self-employed artist, working under contract for each engagement. This means designers are independent and able to work their own hours, subject to their contract. It also means live performance designers are responsible for their own business costs, including superannuation and insurances. As freelance artists, live performance designers own copyright in their designs.

A live performance designer may typically work around 8 -10 weeks or longer on a single production. They work closely with the director, co-designers, and others in the creative and production teams to develop the visual concept for the production. Over several weeks or months, they will refine the concept into specific designs for each element of the production – the sets, costumes, props, lighting, video and makeup elements. They will then technically specify each of these design elements through detailed design documentation such as set models, plans and technical drawings, costume drawings and construction drawings, lighting plans, cue sheets, video system plans, storyboards or make-up charts. The designer then supervises the making of the production through the set, costume, prop, lighting, video and makeup technical processes or workshops while simultaneously responding to the development of the production through the rehearsal process. The design is then taken into the theatre for ‘tech week’ where over a period of about 10 days every moment of the production is technically resolved, ready for the audience on opening night.

The live performance sector in Australia is not large, but there are a diverse range of opportunities for creative, committed people with initiative and talent.

The live performance sector is made up of three types of production companies, each with their own way of working: the independent sector – small, often ad-hoc groups that come together to make a production, often on a profit-share basis; the subsidised sector – consisting of the larger state theatre companies and smaller subsidised companies; and the commercial sector – oriented around large, commercial productions such as international musicals.

While some designers specialise in particular forms of live performance, such as dance or music theatre, most designers will move fluidly between forms.

Core skills for any designer working in live performance are: communicating complex ideas verbally and visually with a wide range of players; understanding of theatre forms and methods; ability to read and interpret scripts; working collaboratively as part of a team to convey ideas and concepts visually; developing design ideas in response to the specific demands of the production; communicating design ideas with drawings, 2D or 3D models or renderings; leading the creative vision of the production with the production team; budget management; technical and practical decision-making.

Personal qualities that characterise a live performance designer include: imaginative visual thinking, excellent communication including visual communication, team building skills, adaptable and responsive to change, practical problem-solving skills, good analytical and technical thinking, resourcefulness and good time management.

Set Designer: Contributes to the concept development of the production, designs all elements of the physical setting, spatial elements including the audience-performance relationship and response to the performance venue, architectural and landscape elements, scene changes and transitions, scenic finishes, props, furniture, dressing. Core technical skills: drawing, drafting (2d, 3d, CAD, analogue), model making (physical scale models and 3d models). Potential assistant roles in the industry: draftsperson, modelmaker, scenic artist, props maker/buyer.

Costume Designer: Contributes to the concept development of the production, designs all elements of the clothing (costume) for every character and performer in the production including: defining each character’s visual arc, doubling (where a performer plays multiple roles) transitions, quick changes, costume accessories. On most productions this also includes make-up and hair/wigs design. Core technical skills: drawing, understanding of costume construction. Potential assistant roles in the industry: costume buyer, costume maker, art finisher.

Lighting Designer: contributes to the concept development of the production, designs all elements of the lighting for every moment of the production, including establishing focus, mood, transitions, special effects. Core technical skills: grasp of technical design and lighting equipment and tools. Potential assistant roles in the industry: lighting assistant, board operator,

Video Designer: contributes to the concept development of the production, designs all elements of the video design including all video images, cues and transitions, the video system design, animated video elements. Core technical skills: grasp of technical design and video equipment and tools. Potential assistant roles in the industry:  lighting assistant, board operator.

Makeup Designer: on larger productions such as opera, ballet and commercial musicals, the makeu-up designer contributes to the concept development of the production, designs all elements of the make-up and/or hair design of the production. Core technical skills: specialised makeup training. Potential assistant roles in the industry: assistant to the make-up artist/team.

Most Australian live performance designers make their way into the industry via one of the major training courses. These are typically intensive three-year degree courses that focus on set and costume design, or lighting or video design. Some of these institutions also offer courses in production skills such as costume making or set or props construction. Some specialised TAFE colleges also offer Certificate 111, 1V or Diploma courses in Live Production, encompassing various elements of set, costume, lighting, design and production. Design courses can be found here.

Many of the institutions listed also offer short courses in aspects of design or production for live performance. These short courses can provide a good introduction.

In their first years in the industry graduates will often start by designing productions in the independent sector, and/or working as an assistant to a designer on a larger production. Graduates may choose to enter either the live performance or screen industries, or to move fluidly back and forth, between these industries.

Occasionally designers enter the industry by crossing over from other fields of design practice, such as architecture, fashion design or interior design. In such cases they bring with them specialised skills which they need to adapt to live performance.

Although it is uncommon in live performance, it is possible to progress from a design assistant role to a design role on a production. Skilled individuals may contact designers personally to promote their assistant credentials or may contact theatre companies to work within their set, costume or lighting departments.

When you are considering a work placement or a design assistant role, you may contact a particular theatre company to work within their set, costume or lighting departments, or make personal contact with the designer with whom you want to work. If you appreciate a designer’s work, we encourage you to introduce yourself. While an immediate response is not guaranteed, reaching out carries no risk. The designers can be contacted through the APDG website Member Directory. The website also provides information on attachment and job opportunities. There are other brilliant live performance resources on the APDG website that will help to inform your choices – the Live Performance Guidelines, the Live Performance Contract and Working Smarter Guide have been put together to support young designers getting started. Students can access these and other resources at a discounted membership rate.