Graeme consults on all aspects of lighting, video and sound design, and provides team leadership and coordination across all aspects of theatre consultancy.
Graeme has more than 18 years of professional experience in support of the technical aspects of performance within dance and theatre, as well as live music. A substantial amount of this time has been in the role of Technical Manager.
He has gained a wide knowledge of supporting Contemporary Dance while working at The Place, London. In addition to acting as Technical Manager there, he has production managed various high profile events, most notably The Place Prize for Dance (2008, 2010 and 2012 editions). He oversaw the refurbishment works at the Theatre, including the replacement of the seating (fixed and retractable), improvements to access at height methods, upgrade of the house lighting system, improvements to the load in area, accessibility and replacement of the air handling systems.
While Technical Manager at The Junction, Cambridge, Graeme was heavily involved in the renovation work that brought a brand-new Theatre to the site as well as improvements to the existing live music space.
Graeme’s consultancy work with Charcoalblue includes Leeds Playhouse (formerly West Yorkshire Playhouse), Hall for Cornwall, Bristol’s Colston Hall, Toronto’s Massey Hall, Hurstpierpoint College Performing Arts Centre, Hull New Theatre and Bloomsbury Theatre.
Graeme sits in on a design forum at our monthly company day.
What's the greatest lesson you've learnt as a Theatre Consultant?
All projects are unique, and all projects need the same care and attention to detail.
What first sparked your love of theatre or performing arts?
I first saw the appeal of stage production team work on a school trip to the National Theatre when I was 11. Although I loved performing, I soon realised back stage was an equal draw.
What qualities should a 'great performance space' have?
They should be engaging and inviting. But equally workable; well-formed technical support systems will allow the production staff to concentrate on realising the work on stage, rather than battling the building, creating a better connection across the board to what is presented.