In our blog series about our creative teams, lighting designer, Jane Hakaraia, talks about illuminating Ink’s plays, colour psychology and how tinsel makes fire.
In this instalment of the series to steal all of Indian Ink’s ideas and start a rival, more successful theatre company, I zoomed Justin to get his thoughts on the writing process.
With Indian Ink’s new play flying in from the horizon I sat down face to face (well, face to laptop to laptop to face) with Jacob Rajan as he discussed the inspiration and background for Paradise or the Impermanence of Ice Cream.
How does a theatre company go about making the sets for their shows? And how the heck do they transport them all across the world? I tracked down Indian Ink’s very own set designer John Verryt for some answers.
I thought that I was meeting Kutisar for an interview, but it turned out that it was actually Shah Jahan, pretending to be Gobi, dressed up as Jake.
Andrew is Indian Ink’s lighting guy, tour guy, sound guy and all-around tech-extraordinaire. Fortunately for me, he took some time out of his busy schedule to sit down and have a chat!
We sit down with Murray to quiz him as to what he does for Indian Ink.
We chat with some students about Paradise.
Whilst performing, master puppeteer Jon Coddington’s is completely in the moment.As he moves his puppet across the stage, his facial expression changes in line with the clicks and hisses of the vulture.
The show’s programme reminds us that “we’re lucky to be in one of the few places in the world where live performance is still possible” and I certainly feel lucky to be seeing this show.
Enjoy a Scoop of Life
Co-founder, writer and actor Jacob Rajan on Indian Ink’s resident oxymoron.
