In this week's TBI QnA we hear from Jason Morphett, lighting designer of the NBR New Zealand Opera’s production of Rigoletto.

During what hours of the day do you feel most inspired?

Late night once the interference of everyday life subsides. Most of the cerebral side of my design work happens after the background noise of life has eased.

How would a good friend describe your aesthetic or style?

Sculptural. It's all about the line and form. I started as a designer lighting dance and ballet so body lines and silhouettes are very important to me.

What aspect of your creative practice gives you the biggest thrill?

Plotting a show for the first time and discovering it all works and finding those happy coincidences.

How does your environment affect your work?

Working in theatres gives me an unlimited scope. When we walk in it's just a large empty box full of potential waiting to be filled with whatever reality we chose to create.

Do you like to look at the big picture or focus on the details?

Both inevitably as the big picture is just a large collection of details.

What's your number one business tip for surviving (and thriving) in the creative industries?

See the possibilities in everything.

Which of your projects to date has given you the most satisfaction?

Designing shows in awesome found venues gives me enormous enjoyment. The great pyramid at Giza, the lost city of Petra, a disused power station. Taking a space that's visually interesting and creating in and around its structures.

Who or what has inspired you recently?

Finding some photos I shot a million years ago whilst walking in the Alps. The light at dusk playing across the slopes and valleys was beautiful and sad. The pictures made me think about light mauve's and dusky grey/pinks again.

Tell us a bit about your background.

First paid gig was follow spot op in the Westend when I should have been in school. Fell in love with the warm dark backstage world peopled with show girls, techies and turns. Started touring and never looked back. The only continent I haven't done shows on is Antarctica so if anyone out there is taking a show down to Scot Base I am definitely available.

Tell us a bit about your recent and upcoming projects.

Well I'm writing this from the production desk of the NBR NZ Opera’s new production of Rigoletto which I have been designing. Before this I was HOD Lighting for the International Arts Festival and after this I go on to RNZB's tour of Cinderella.

Tell us a bit about the lighting design of Rigoletto.

It's a mixture of quite straight realistic lighting i.e. respecting onset light sources etc. and more Gothic extreme design ideas as we reflect the main character’s inner turmoil.

If you could go back and choose a completely different career path to the one you've chosen, what would it be?

Oceanographer or possibly rescue helicopter pilot.

What place is always with you, wherever you go?

Home is an odd concept for me as most of my professional career has been nomadic. I have never felt routed to any particular place, geographically. Going back to the Westend in London always feels good and landing in Las Vegas always makes me smile.

What's the best way to listen to music, and why?

Cruising through a big city in the early hours of the morning in something powerful and German. Both sides of the brain fully engaged.

You are given a piece of string, a stick and some fabric. What do you make?

A flag to attract the attention of the cocktail waitress in the blackjack pit of Cesar's Palace.

What's the best stress relief advice you've ever been given?

Don't get stressed. How you react to a situation is purely a matter of choice so choose not to get stressed. Doesn't always work but just knowing you can choose not to stress helps.

What’s your big idea for 2012?

To do the things I used to enjoy and have, over the years, convinced myself I no longer have time to do.

* * * The Big Idea 10th Birthday Questions * * *

What does The Big Idea mean to you?

A place to share and learn from other creative souls.

What changes have you noticed in lighting design in the past 10 years?

The technology has become more sophisticated giving lighting designers many more options which has led to lazy designing. The temptation is to put up a bunch of moving lights and make it up as you go along. We need to stop being driven by the technology and get back to pure design - decide what the scene should look like then back engineer to decide what kit you need and where to put it.

What are some of the opportunities and challenges for the next decade?

Get more involved in mixed media design - lighting, video, mechanical animation, photography - instead of treating them as separate disciplines.

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Bio:

Jason Morphett was born in England. He has toured and designed all over the world with such shows as the Chemical Brothers in New York, Holiday on Ice throughout Europe, CA Awards Show at the Pyramids in Egypt and Royal Galas at the Ritz Hotel in London in the presence of HRH Queen Elizabeth over the past 25 years. 

Jason came to New Zealand in 2003 and worked with the Royal New Zealand Ballet for five years. Now has his own company, Three Seven Design Ltd. Has been Head of Lighting for London City Ballet, Birmingham Royal Ballet, Royal New Zealand Ballet, New Zealand Opera, NZ International Arts Festival and Chief Electrician for Towngate Theatre, Essex, Swan Theatre, High Wycombe, Holiday on Ice, Green Division.

Lighting Designer credits include Romeo and Juliet, Coppelia, Verge, Concerto, Equisses, Equilibrium, Si Superious (RNZB); Kia Ora Khalid, Tale of a Dog, Boxes (Capitol E Theatre Company). Associate Lighting Designer credits include Walking with Dinosaurs (WWD Productions), La Boheme (NZO). Relighting credits include Giselle, Romeo and Juliet (NZ/UK tour), Swan Lake, The Wedding, Milagros (RNZB); Cavalleria rusticana and Pagliacci, Macbeth, Eugene Onegin, Jenufa (NZO).