NICK SCHLIEPER
Nick Schlieper has designed lighting for all of the major performing companies in Australia, and works regularly in Europe.
Nick’s 2012 engagements include Marriage of Figaro for Opera Australia.
In 2011 Nick lights productions with Sydney Theatre Company:The White Guard and Big and Little; for The Really Useful Company:Love Never Dies (Melbourne); Melbourne Theatre Company: Hamlet; Sydney Theatre Company/Queensland Theatre Company: No Man’s Land;and the Broadway season of Priscilla Queen of the Desert. Nick will also light Sydney Theatre Company’s production of Uncle Vanya at the Kennedy Centre in Washington and design both set and lighting for the Malthouse/Sydney Theatre co-production of Baal.
In 2010 he again worked with the major Australian theatre and opera companies including Melbourne and Sydney Theatre Companies, (notably Long Days’ Journey into Night in Sydney and Portland, USA), Bell Shakespeare, Belvoir Street and Opera Queensland. He also lit the North America opening season of Priscilla Queen of the Desert, The Musical in Toronto.
During 2009 Nick’s work included War of the Roses, Priscilla Queen of the Desert in London’s West End; Dissocia, Elling, The City and Streetcar Named Desire for the Sydney Theatre Company (Sydney, Washington and New York) and Poor Boy for Sydney Theatre Company and Melbourne Theatre Company.
His theatre credits includeThe Year of Magical Thinking, The Serpent’s Teeth,Blackbird, Dissident, Mother Courage, The Season at Sarsaparilla, A Kind of Alaska/Reunion, Hedda Gabler,Victory,Endgame, A Doll’s House, Volpone, The Three Sisters, Don Juan, Cyrano de Bergerac, A Delicate Balance, Les Parents Terribles, The Life of Galileo, Pentecost, As You Like It, Threepenny Opera, King Lear, Racing Demon for Sydney Theatre Company; Ninety, The Glass Soldier,Cyrano de Bergerac, Two Brothers, The Visit, Inheritance, Great Expectations, Proof, The Tempest,Comedy of ErrorsandMeasure for Measure for Melbourne Theatre Company;The Department, Cosi, ‘Tis Pity She’s a Whore, A Midsummer Night’s Dream, Marat/Sade, Kafka Dances and The Idiot for State Theatre Company of South Australia; The Tempest, Good Works (and set design) and XPO forQueensland Theatre Company;Lulu, Black Mary and The Unexpected Man for Belvoir Street Theatre; Hamlet, Othello and Troilus and Cressida for Bell Shakespeare Company, as well as Priscilla The Musicalfor Backrow Productions in Sydney, Melbourne and Auckland.
Nick has also designed lighting for Scheherazade for the Australian Ballet, the acclaimed Cinderella for Royal New Zealand Ballet and several pieces for Bangarra Dance Company including Bush.
His extensive work in opera includes Don Giovanni,Nabucco, Tannhäuser, Il trovatore, L’elisir d’amore, Andrea Chenier, Freischütz, Falstaff and Seraglio for Opera Australia; Salome (and set design) and Parsifal for State Opera of South Australia; Flying Dutchman, Don Giovanni, and Ken Russell’s Madam Butterfly for Victorian State Opera; Macbeth (and set design) for Opera New Zealand and Don Giovanni (and set design) for Opera Queensland. He was lighting designer and associate set designer of the first Australian production of Wagner’s Ring Cycle in Adelaide in 2004.
His international work includesproductions of Billy Budd and A Midsummer Night’s Dream at the Hamburg State Opera;The Hostage for the Royal Shakespeare Company; The Government Inspector for Theatr Clwyd in Wales; Blackbird in New Zealand and at theRuhrFestspiele in Germany,Armut, Reichtum, Mensch und Tier andThe Ginger Man for Deutsches Schauspielhaus in Hamburg; Kasimir und Karoline andLea's Hochzeit for Theater in der Josefstadt, in Vienna;U.F.A. Revue for Berlin and Kennedy Centre Washington; Michael Kramer andEin Florentinerhut for Schillertheater in Berlin; Michael Bogdanov’s productions of Macbeth and Peer Gynt for the State Theatre of Bavaria;Aristokraten for Stuttgart; Tales of Hoffman for Wiesbaden; Away and Summer of the Seventeenth Doll at the Summerfare Festival in New York and Hedda Gabler with Cate Blanchett, also in New York.
Nick has received four Green Room Awards, the Sydney Critics Award in 2009 and 2010, as well as Helpmann Awards in 2004, 2009 and 2011.
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