The National Theatre is transforming its production methods—its ambitious environmental goals necessitate that creatives innovate even further.
Having established the objective of reaching net zero as an organization by 2030, substantial behind-the-scenes adjustments are currently in progress.
Pic: Reed Watts
Sky News was granted an opportunity to observe how the theatre, located in Southbank, central London, is revamping its methods for producing performances, engaging with some of the individuals involved in its adaptation of the cherished children’s story, Ballet Shoes.
While reviewers have lauded the visual dazzle presented on stage, achieving the entire aesthetic called for a significant change in methodology.
“The entire team has had to embrace the concept of reimagining, reconstructing, and reworking materials instead of simply creating them anew,” stated costume designer Samuel Wyer.
A valuable resource they utilized was the National Theatre Green Store located in Bermondsey, southeast London.
This facility houses over 131,000 costume pieces and nearly 22,000 props all under one roof, enabling designers to repurpose items from earlier productions as a means of minimizing their carbon output.
It presents a remarkably fulfilling challenge.
Mr. Wyer remarked that they could “trim and modify garments… which allowed me to discover items even beyond my imagination that were more suited than anything I could sketch on paper.”
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By endeavoring to set a precedent, the theatre aspires to showcase how the sector need not adopt a fast fashion mentality when creating sets, props, and costumes from scratch.
“I believe if it’s shown that we can operate in this manner that encourages all of us to envision a world where we can utilize existing resources rather than always seeking the new, we can achieve that equilibrium,” Mr. Wyer concluded.
“Theatre is the space where we explore who we might become.”
Pic: Reed Watts
‘Each item has its unique character’
In the previous year, the National set ambitious goals, aiming for 50% of the materials used in its productions to have prior significance, and 65% to be repurposed following each production.
For set designer Frankie Bradshaw, achieving these objectives has necessitated working with a far greater amount of reused furniture.
“Numerous second-hand cabinets, bookshelves,” she noted. “Typically, [carpenters] would be accustomed to constructing from scratch based on a blueprint, and this has proven to be quite different.
“Each piece possesses its unique character, and they have had to modify their techniques to accommodate this style of working.”
Though it is far from straightforward, the undertaking is yielding gratifying results.
“It requires everyone to exhibit a tad more adaptability, a touch more patience, but it ultimately results in a product of which you can be much more proud,” Ms. Bradshaw further elaborated.
Ballet Shoes is scheduled to run at the National Theatre until Saturday, February 22.
