Darren Hawkins trained at Queensland University of Technology attaining a Bachelor in Fine Arts (Technical Production) in 2011. During his time in Brisbane he worked at The Garden’s Theatre and Brisbane Powerhouse alongside leading Australian lighting designer David Walters. Moving to Canberra in 2015 he worked at Canberra Theatre Centre as a lighting technician for many events with companies including Bell Shakespeare and Bangarra Dance Theatre. Head of Lighting for Canberra Theatre Centre in 2022-2023 he supported many Canberra-based and national companies and then moved becoming The Street’s Technical Manager late 2023. Crime and Punishment is his first professional lighting design for a mainstage production.
THE STREET TALKED TO DARREN, LIGHTING DESIGNER FOR CRIME AND PUNISHMENT.
WHAT SPARKED YOUR INTEREST IN LIGHTING?
Working on my school musical, helping with the lighting installation and spot operating.
HOW DID YOU RESPOND TO THE SCRIPT FOR CRIME AND PUNISHMENT?
I had not previously read the book, but I was intrigued by how a book written in 1866 so easily resonates with modern times.
WHAT ARE SOME OF THE IDEAS YOU HAVE DEVELOPED FOR THE LIGHTING DESIGN OF CRIME AND PUNISHMENT?
Having colours that represent the back alleys and industrial areas of the city plus in the interrogation room I have used downlight to develop the pressure and intensity of the situation.
THIS IS YOUR FIRST LIGHTING DESIGN FOR THE MAINSTAGE. HOW DO YOU COLLABORATE WITH THE DIRECTOR CAROLINE STACEY AND OTHER DESIGNERS KATHLEEN KERSHAW AND KIMMO VENNONEN?
I have worked with designers and directors for more than 10 years as a programmer for large shows and produced minor designs on shows with no pre-planning time. From these experiences, I understand the needs of the creative team, Caroline, Kathleen, and Kimmo. Having pre-planning time has enabled me to create a draft of my concepts to collaborate with them.
WHAT IS YOUR CREATIVE PROCESS IN USING LIGHT AS A DESIGN TOOL?
Read the script and visualise the location that things are placed in, then collaborate with the creative team. Next, use computer design software and colour filters with the light and start to visualise how the lights will react with people in the space.
LIGHT IS OFTEN THE LAST LAYER TO BE ADDED TO A PRODUCTION. HOW DO YOU DEVELOP YOUR VISION THROUGH THE REHEARSAL PROCESS?
In the case of this show, the lighting design concept was being imagined at the same time as the stage scenery was being done. The bulk of the concept was imagined before rehearsals, but as always when rehearsals start design will always change because actors bring life to the performance.
HOW DO YOU WORK IN REHEARSALS VERSUS PRODUCTION WEEK?
Rehearsals time is designing the placement of where lights will be and the colours that will be used. Production week is programming and bringing the concepts into reality.
WHAT DO YOU THINK IS THE MOST SIGNIFICANT INNOVATION IN LIGHTING DESIGN?
In the industry, the colour mixing LED fixtures that we now have grant us the ability to have one light to do the same as what multiple lights would have done in the past. I have taken advantage of that in Crime and Punishment feel I have used lights to create a cityscape to a great effect.
WHAT’S INSPIRING YOU CREATIVELY AT THE MOMENT?
It is very hard to place it down to one thing, I have watched and worked on so many live performances and seen how different lighting colour directions, and even intensities can shape the performance and inspire the imagination.
WHAT ARE YOU CURRENTLY READING AND WATCHING?
Currently reading (audiobooks) the Aurora series and Dark Street series.
Dostoyevsky’s Crime and Punishment opens at The Street Theatre on Saturday 22 June 2024.
STREET TALK 