Tina studied Architecture at ALBA-Beirut, graduating top of her class in 2013 and earnt the Order of Engineers and Architects award as well as the Samir Mokbel award for excellence in architectural design. She also played the Piano at the Music Conservatoire of Beirut and graduated with honours in 2012.
While working in architecture, she has rehearsed and performed in the chorus of musical theatre and opera on Beirut’s main stages. This is where she decided to combine her passions for performance and architecture.
In 2015, she enrolled in the MA Design for Performance course at the Royal Welsh College of Music and Drama where she designed the set for ‘Cabaret’, working with the Director Paul Kerryson. ‘Cabaret’ won the Set Design Silver Award at World Stage Design - WSD 2017 in Taipei.
Tina Joined Charcoalblue directly from the Royal National Theatre where she was awarded the Dingemans Design bursary.
Tina’s consultancy work for Charcoalblue includes Warwick University Lecture Theatre in Coventry and La Cité du Théâtre in Paris.
Tina at the World Stage Design Award, Taipei.
Tina accepts the Set Design Silver Award at World Stage Design 2017 in Taipei.
Elina and Tina create a model for a presentation.
Tina strikes a pose in her festive knit for Save the Children's Christmas Jumper Day 2017.
Tina rehearses her tap moves with the London team for our annual Battle of the Studios carol competition.
Tina limbering up backstage at a production of One Night on Broadway in Beirut.
Tina's set design work includes the National Theatre's Dead Don't Floss.
What's the greatest lesson you've learnt as a Theatre Consultant?
That information which seemed obvious to me as a theatre consultant may still be completely unknown to designers or architects who haven’t been directly exposed to the theatre stage or its backstage. In summary, that we are very useful.
What first sparked your love of theatre or performing arts?
Probably when I first experienced the stage as a 12 years old Ballet student. It took months of preparation only for a familial performance. It included props, costumes and fittings; it was all very new and exciting to me. The Performing arts have been saving me from my shy character ever since. This relationship has been continuously evolving in multiple directions and has taught me more than anything else about life. My favourite memory is undoubtedly the moment I received the phone call confirming I’ve got the Dingemans design award at the Royal National Theatre. The journey was incredible indeed. Such a wonderful place and beautiful people to work with.
What qualities should a 'great performance space' have?
Basically, a performance space should equally work for the audience, the actors and the creative team. It should provide,
From the audience’s perspective: Intimacy and closeness to the action
From the actor’s perspective: Freedom of movement and connection to the audience
From the Creative’s perspective: Maximum flexibility and minimum constraints to creativity
We hear you’re a talented tap dancer, how did you get into that?
I am glad and surprised I’ve got this reputation going!
It all started few years ago while I was waiting for my jazz dance class, as one student approached me to try her tap shoes: It was a Cinderella moment. I found my happiness in a shoe...