Nina designs video and projections for a wide range of shows, working internationally across theatre, opera, dance, immersive, live events and public art.
Recent work for Theatre includes: 9 to 5 (Savoy Theatre, London); The Box of Delights (Wilton’s Music Hall), Copenhagen; Fiddler on the Roof, Forty Years On (Chichester Festival Theatre); Miss Littlewood, The Seven Acts of Mercy, Volpone (RSC); Der Freischütz, Macbeth (Vienna State Opera); The Damned United (West Yorkshire Playhouse / Tour); The Assassination of Katie Hopkins (Theatr Clwyd); Cookies (Theatre Royal Haymarket); The Rocky Horror Show (European tour); The Life, The Diary of a Teenage Girl (Southwark Playhouse); The Mountaintop (Young Vic and UK Tour); No Man’s Land (Tour/West End). Immersive and live events include: Spring Gala (Royal Opera House); Alice’s Adventures Underground 2015 (Les Enfants Terribles/EBP), Back to the Future, Grand Budapest Hotel, Miller’s Crossing and Who Framed Roger Rabbit for Secret Cinema.
The Assassination of Katie Hopkins
The Assassination of Katie Hopkins demanded we find a way to visualise and dramatize the internet and the power and effect of social media, and we set out to create a visual and sonic landscape which could support both the personal and the epic stories in the show.
The key moment was a workshop held several months before we went into production, where the textures of design, lighting, video, sound and music were explored, and we committed to each discipline being entirely dependent on the others. The orchestration would be entirely electronic. This music feed would then trigger the video, sound and lighting effects so the whole space was constantly reacting to the energy and sound of the music, much in the same way that the internet is constantly alive and responsive, and a tweet can ricochet around the world making waves in just a few seconds.
As a Video Designer, I sometimes refer to what I do as pixel plasma – the stuff that weaves between all departments sometimes binding them together. I am therefore always influenced by scenic and lighting methods that can combine with my tools. ”