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Bek Palmer

SBTD Designer

Bek Palmer

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Biography

Professional

Bek designs sets, costume and puppets for a variety of performance including opera, classic drama, theatre for young audiences and immersive experiences.

Previous work includes; Hairspray (Pimlico Opera), La Cenerentola (British Youth Opera), Same Time, Next Year, No Man’s Land, My Mother Said I Never Should, The Birthday Party, Waiting for Godot and Betrayal (London Classic Theatre), Hansel & Gretel, A Christmas Carol, Henry II and Matilda the Empress (RABBLE Theatre), The Chronicles of Atom & Luna and The Mystery of The Raddlesham Mumps (Funnelwick Limb), Baba Yaga, Spirits of the Sea, Bear & Butterfly, Tiny Treasures, Luna, The Elves and the Shoemakers, Angel, The Night Pirates and My Mother Told Me Not To Stare (Theatre Hullabaloo), The Strange Undoing of Prudencia Hart (Eastern Angles),  Alfie White: Space Explorer and Lemony Snicket’s Latke Who Couldn’t Stop Screaming (Tall Stories),  What The Ladybird Heard (Kenny Wax Ltd),  Shaun The Sheep (Dan Coleman),  Happily Ever After (Action Transport Theatre), The Duchess of Malfi (Punchdrunk & ENO)

Bek trained in Performance Design at LIPA and studied Post Graduate Theatre Design at RWCMD.


WAITING FOR GODOT

 
  IMAGE CREDIT: SHEILA BURNETT
 
  IMAGE CREDIT: SHEILA BURNETT
 
   
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Role:
Production Designer
Year:
2015
Venue:
National Tour of both End-On and In-the-Round, mid-scale venues
Company:
London Classic Theatre

The country road in the script is, to me, an allegory for a route between two stages in life that people usually pass through, but these characters have got caught in a loop of repeating actions and events.

I wanted to create a parallel universe, where alternate versions are glimpsed through portals.  Initial ideas were of a hall of mirrors, things being reflected many times, each with slight distortion. Choosing to elevate trees as if they were slowly rising through this alternate reality, I positioned one tree lower in the space giving us the tree featured in the play.

Until late in the process, I had a large oval wooden floor, but this worked against the transitionary space I was trying to create. I decided to cover the floor area with a black reflective surface on which the characters cannot step and broke the wooden floor into floating stepping stones, creating a pathway through the space.  This decision influenced the blocking of the action, resulting in a choreographed route over the stones to navigate the space.

Credits:

Director:
Michael Cabot
Lighting Designer:
Andy Grange
Costume Supervisor:
Saeni Greene
Writer:
Samuel Beckett
Set Builder:
Tandem Scenery
Photographer:
Sheila Burnett

Contact Bek


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