Graham Maclean

Graham Maclean is one of Australia's most experienced and admired set designers who works frequently with the Queensland Ballet and has designed for numerous operas, musicals and plays. His most recent designs for the company were for Francois Klaus's new production of 'Swan Lake'.

Where did you grow up?
My formative years were at Como on the Georges River, Sydney. Later we moved to the Riverina near Albury, on the Murray.

Was it a theatrical family?
Not really, but there was always music. My father especially had a musical ear and could play almost any instrument.

What sort of childhood was it?
At Como it was ideal, my mother often rowed me to pre-school. It was all bush then, with an almost dangerous beauty – just wonderful.

How were you first introduced to the theatre?
I think most people went to the theatre in those days – trips into Sydney to see panto’s, revues and musicals. I was hooked early.

How did you become interested in set design?
Originally I wanted to be an illustrator and was also interested in costume (from an historical point of view). I loved history at school – my history school book looked like a comic strip!

Did you train as a designer?
I went to many art classes on a casual basis, but I had no formal training – not a good idea now, of course. I basically learnt on the job, easy to do in the 1960s.

Tell us about your first set design.
Because I could draw pretty well, and loved the theatre, I was a real commodity at school, always painting props, etc. My first design was for a local Albury theatre group performance of South Pacific. It must have looked hysterical!

At what point are you called in the creation of a new work?
With the Queensland Ballet, for example, once the ballet is decided the style of the production comes from early discussions. You can usually tell even with a seemingly casual conversation where the director is going. Then the music or the script takes over. You must be “simpatico” with the director, so the set isn’t overwhelming, or on the other hand underused and looking superfluous.

What is your method?
Sketches galore! Sometimes if something is more sculptural the model comes early. Backcloths are rendered till everyone’s satisfied. I have a real computer whiz to help me, if needed. I’m probably the only person left alive who still does the elevations by hand, but the carpenters seem to like them.

How “hands on” are you in the creation of a set?
My backcloths are printed here in Newtown one street away at Scenographic Studios – it’s my favourite place in the world. Hands on? No, I just stand there in awe. For plays I’m certainly involved on a daily basis.

What changes have you seen in theatre design styles or fashions?
You name it: from the painterly, the black gloss box, the white gauze box, the towering staircase that singers gasped for breath upon. Constructed, deconstructed and reconstituted. I just try to do the best I can!

What changes have you seen in a set designer’s job over the years?
Most of us had to do costumes and set; now people tend to specialise in one or the other.

What was the most difficult production you have had to create?
Plays that require many and various locations need a lot of thought. Shows that tour to all sorts of stages of various dimensions can also be problematic. But I invariably have found joy in most projects.

Do you have a production you are particularly proud of?
I loved doing Cloudland for the QB. It was a story I’d had in mind for years and when artistic director Francois Klaus took it on, I was thrilled. It had a great opening. I designed a more romantic version for the German tour, which bumped in under two hours. I know the dancers (of I think the most versatile company in the world) loved it too.

What sort of temperament do you need for a job like yours?
Good communication skills (and a sense of humour) are helpful. You collaborate with so may people from all aspects of the profession. A deep curiosity and love of learning is important too. It’s all about people, from the hard-working performers to the audience – you try to give them all what they need.