About


Genevieve Dugard, Designer

I am a professional set designer for events, installations and the performing arts, having studied set and costume design at the Western Australian Academy of Performing Arts, graduating in 2001.

Since then I have designed scores of productions across many genres : theatre, dance, film, musical theatre and opera, working with many of Australia’s leading companies including Opera Australia, Sydney Theatre Company, Company B and Bangarra Dance Theatre, alongside some of the country’s most exciting minds.

I am the Company Designer for arts and social change company BighART, for whom I work across many varied projects, and whose long term projects in marginalised communities have taken me and my work to many parts of Australia unseen by your average theatre audience. You can view Big hART’s showreel here on Vimeo

My work has been seen in festivals both at home and internationally, on stages in theatres, on wharves and in carparks, hotels and dry river beds. I hope you enjoy it as much as I have loved creating it.

Design Credits

Ghosts in the Scheme

Big hART
Set Design
September 2015
Director : Scott Rankin

The Hive

Co-working space – Haworth Inc.
Interior and Furniture Design
June 2015

Blue Angel

Big hART
Production Design
March 2015
Director : Scott Rankin

Murru

Big hART with the Roebourne Regional Prison
Set Design
October 2014

Hipbone Sticking Out

BIg hART with the Roebourne Community
Set Design
2013, 2014
Director : Scott Rankin

Tinyfolk Products

Director and Designer
2012 – 2015

Capture The Flag

Tamarama Rock Surfers
Set Design with Leland Kean
May 2011
Director : Toby Schmitz

Namatjira

BighART & Company B / Malthouse Theatre
Set Design
October 2010
Directors : Scott Rankin + Wayne Blair

La Traviata

Opera Australia / Oz Opera
Co Set + Costume Design with Jo Briscoe
July 2010
Director : Rachel MacDonald

Rabbit

Sydney Theatre Company
Set + Costume Designer
November 2008
Director : Brendan Cowell

Paul

Company B @ Belvoir
Costume Design
May 2007
Director : Wesley Enoch

True Stories

Bangarra Dance Company
Set Design – Double Bill
Green Room Awards Nomination : Best Set Design for Dance
May 2007
Choreographers : Frances Rings & Elma Kris

The Taming of the Shrew

Sydney Theatre Company
Set + Costume Design
May 2007
Director : Rachel McDonald

Ngapartji Ngapartji

BighArt
Melbourne & Perth Festivals, Sydney Opera House
Set + Costume Design
2006 / 2007
Director : Scott Rankin

15th Asian Games Opening & Closing Ceremony

Doha, Qatar
November 2006
Costume Dept
David Atkins Enterprises

The Unscrupulous Murderer Hasse Karlsson…

Darlinghurst Theatre
Set Design
Nov 2006
Director : Sarah Goodes

Honour Bound

Sydney Opera House / Malthouse
Costume Design
August 2006
Director : Nigel Jamieson

Request Programme

Sydney Theatre Company
Set + Costume Design
May 2006
Director : Brendan Cowell

Salt

The Street Theatre
Set + Costume Design
March 2006
Director : Carol Woodrow

StickyBricks

BighArt / Sydney Festival
Set Design
January 2006
Director : Scott Rankin

La Voix Humaine

Opera Australia
Set + Costume Design
December 2005
Director : Rachel McDonald

Ngapartji Ngapartji

BighArt
Pilot Season Melbourne Festival
Set Design
October 2005
Director : Scott Rankin

Close To Home

Kicking + Screaming / Griffin Theatre Co.
Set Design
November 2005
Director : Chris Mead

National Security and the Art of Taxidermy

Glynn Nicholas Group / B Sharp
Set + Costume Design
September 2005
Director : Glynn Nicholas

Pop’s Dream

Red Fish Blue Fish Films
Production + Costume Design
June 2005
Director : Bronwyn Purvis

Boy Overboard

ATYP
Set + Costume Design
July 2005
Directors : Tim Jones & Becky Chapman

Unstuck

Metro Screen Initiative Films
Production Design
May 2005
Director : Rayma Johnson

Unspoken

Rain Dance Productions
Set + Costume Design
April 2005
Director : Wayne Blair

Bed

Sydney Theatre Company
Set + Costume Design
Feb 2005
Director : Brendan Cowell

This Blasted Earth

Tamarama Rock Surfers
Set Design
December 2004
Director : Leland Kean

Through The Wire

Performing Lines
Costume Design
October 2004
Director : Ros Horin

Black Milk

Wildcard Productions / B Sharp
Set Design
September 2004
Director : Sarah Goodes

Half and Half

The Chess Club / B Sharp
Set Consultant
August 2004
Director : Lee Lewis

Kimberley Akimbo

Ensemble Theatre Co.
Set + Costume Design
August 2004
Director : Kate Gaul

Cross Sections

Tamarama Rock Surfers
Set + Costume Design
April 2004
Director : Chris Mead

Live to Give

Haywire Films
Production + Costume Design
April 2004
Director : Bim Ricketson

Talking Heads

ICA / Robert Fox Productions UK
Design Realisation
March 2004
Director : Anthony Page

Hilt

Tamarama Rock Surfers
Set + Costume Design
March 2004
Director : Sarah Goodes

Run Rabbit Run !

Company B @ Belvoir St.
Costume Design
January 2004
Director : Kate Gaul

These People

Sydney Theatre Company
Set + Costume Design
September 2003
Director : Benjamin Winspear

Love That Dog

Scorch Theatre / B Sharp
Set Design
August 2003
Director : Helen Tonkin

First Date

Haywire Films
Costume Design
June 2003
Director : Bim Ricketson

Songket

Griffin Theatre Company
Costume Design
June 2003
Director : Ros Horin

Rabbit

Griffin Theatre Company
Costume Design & Design Supervisor for Brian Thomson
April 2003
Director : Kate Gaul

Top Shorts

Naked Theatre Company
Set + Costume Design
December 2002
Directors : Helen Dallimore, Felix Williamson, Tamara Cook

Wide Open Road

Pact Youth Theatre Company
Costume Design
December 2002
Directors : Chris Murphy, Regina Heillman

The Cave

Buzz Dance Theatre
Costume Design
July 2002
Choreographer : Paige Gordon

Mamu

Blackswan Theatre Co.
Set Design
March – July 2002
2002 Adelaide + Hamburg Festivals
Director : Andrew Ross

Leaves Falling at Midnight

Art, Cackle + Hoot Entertainment
Set Design
December 2001– February 2002
Director : Scott Rankin

2001 Production Design Industry Award

For outstanding achievement in Design
WAAPA
November 2001

Heart of the Matter

WAAPA
Production + Costume Design, Art Direction.
July 2001
Director : Lis Hoffman

Paper City

Buzz Dance Theatre
Costume Design
May 2001
Choreographer : Paige Gordon

Abode of the Vacancy

WAAPA
Set + Costume Design
April 2001
Director : Neill Gladwin

Plastic Fantastic

Buzz Dance Theatre
Costume Design
November 2000
Choreographer : Paige Gordon

Summerfolk

WAAPA
Set + Costume Design
May 2000
Director : Nick Enright

Reviews

Ngapartji Ngapartji, BighART

“Can I say how much I love the work of designer Genevieve Dugard? I got to meet her out in the desert as she is the designer for Ngapartji Ngapartji. One point I’ve not fully articulated about that show, despite all I have written, is how beautiful it was (is). This is the split in the path between director Scott Rankin and other theatre artists working in so-called ‘community’ theatre, his aesthetic is so highly evolved. And so it is not surprising that he likes to work with Dugard, whose work is not just functional but lovely to look at. Dugard’s designs possess a sophistication and elusive wistfulness that lift you to a higher plane.” — James Waites, October 2008

“Genevieve Dugard’s superbly effective set is a black-sand floor with a sloping ramp at its centre, which Jamieson and other actors clamber and slide along” Gary Smith, The Daily Telegraph, January 2008

Sydney Festival, Paradiso Bar

“The design of the space was amazing. There seemed to be a real effort to work with the art-deco interior and transform it into a fusion of classic and contemporary. The gigantic digital screen on the stage bathed the interior in cybernetic rays…Meanwhile the the terrace outside became a lush outdoor bar and lounge” — Jim Poe, In the Mix, Jan 2013

Hipbone Sticking Out, Big hART, Melbourne Festival.

“A spectacularly visual production” — Deborah Hawke, Barefoot Review, July 2013.

“A cunning stage design allows nifty on-the-go set rearrangements and progresses with the play to remove elements to open up the stage to leave it open for the brutal ending. Genevieve Dugard’s set design works with the ongoing commentary on theatrical conventions to further reflect the nature of the framing of the narrative.” — Nerida Dickinson, Australian Stage, October 2014.

“Between the proscenium-high columns of Genevieve Dugard’s flashy, layered set — awash with manic, brilliant projections by Benjamin Ducroz — we head back in time”— Byron Bache, Herald Sun, October 2014

Namatjira, BighART, Company B, Malthouse Theatre

“Namatjira is staged on and around a wooden plinth (designed by Genevieve Dugard) whose polished curves and ridges echo the topography of the landscape” — Jason Blake, Sydney Morning Herald, October 2010

“The design (by Genevieve Dugard), a panorama and more, wraps around the audience, white chalk against a black background depicting the outback landscape. A magnificent, versatile, polished carved timber centerpiece, adds a stunning three-dimensional representation of the landscape and acting space” — Neil Litchfield, Stage Whispers, August 2011

“In the centre of the space (design Genevieve Dugard) is a multi-layered, highly-polished and sculpted timber structure … a modern piece that might be admired at the MCA” — Diana Simmonds, Stage Noise, October 2010

“The visual beauty of the chalked ‘ghostly’ backdrop on the black back-walls of the stage space, created and still evolving during the show by the descendants of Albert Namatjira, is both aesthetically and spiritually humbling, disarming in its impact. The layered polished, levered wooden landscape sculpture that Genevieve Dugard has created, centre of the stage, is also a work of ‘art’ and serves, in its mechanics, many levels of engagement.” — Kevin Jackson, Theatre Diary, October 2010

Ghosts in the Scheme, BighART, Canberra Theatre Centre

“As with all Big hART productions, Ghosts in the Scheme is visually sumptuous. The creative team behind this aspect of the show (Gillian Schwab, Mic Gruchy and Genevieve Dugard) are highly innovative, using image projection to create some stunning effects that transport the senses” — Deborah Hawke, Barefoot Review, September 2015

“Genevieve Dugard’s functional minimalist set design was simple yet dramatic, evoking the stark Monaro/Snowy Mountains landscape, the darkness of winter and the depth of the undercurrent carrying the story along to its inevitable conclusion” — Antoinette Percival, Cooma Express, September 2015

True Stories, Bangarra Dance Theatre

“Set Designer, Genevieve Dugard, creates a stage that morphs with each transition; white neon tubular lighting for the radiation examination and a large structure with fragments of amber glass alluding to the crystallisation of sand during intense moments of heat” — Selma Nadarajah, Australian Stage, August 2007

“The set for Emeret Lu, by Genevieve Dugard, is based on an ancient myth told to her by Elma Kris, of a hidden cave on Murray Island shaped like the mouth of a dugong. Dugard shapes the bamboo of the island to present this cave as a deep source from which the dancers issue forth warily, just as the myth itself creeps tentatively into a new environment.
The set for X300, also by Genevieve Dugard, combines images of modern and ancient landscape and effects. Sand crystallises into shattered glass; the X-ray effects of the explosions is portrayed through the crackling spikes of light rods; and dominating it all is a great collage descending from the flies that seems to be the wings of hundreds of desert moths, but opens and spreads to become a complex map of the contaminated waterways” — Alison Cotes, Stage Diary, June 2007

Rabbit, Sydney Theatre Company

Aside from the actors, the other intriguing element of this production is the set. In New York and London the choice was more the mod-edgy-luxe interiors of 21st century nightlife. Genevieve Dugard has gone in a totally different direction with the design which is casually centred on a coffee table which the birthday party guests barely notice. It is a copy of the Allen Jones pop art icon of 1970: glass top resting on the back of a curvaceous female form, on all fours, clad in black leather S&M gear including stiletto-heeled boots. Present-day art maven Banksy also features – again quite casually – but he’s not nearly as interesting as the Allen Jones table!” — Diana Simmonds, Stage Noise, November 2008

Unspoken, Performing Lines

“The design by Genevieve Dugard of a deck by the seaside is simple but effective, like the play as a whole it lends a warmth and border to the play rather than leaving Clarke to a bare and desolate stage” — Emma Nelms, Media Culture, August 2006

The Unscrupulous Murderer, Darlinghurst Theatre

“The set design (Genevieve Dugard) a delicate balance between symbol and practical device” — Mark Hopkins, Sydney Morning Herald November 2006

Black Milk, Wildcard Productions & B Sharp

“The mood suggests we are entering the pages of an obscure and bleakly seductive fairytale. That feeling continues upon reaching the stage and seeing Genevieve Dugard’s evocative set” — Lenny Ann Low, Sydney Morning Herald, September 2004

La Traviata, Opera Australia (Oz Opera)

“Designers Jo Briscoe and Genevieve Dugard set the work inside an expansive metal art nouveau gazebo that worked equally successfully as a salon or gilded cage, and the cast was outfitted in stylish late 19th century punk-influenced costumes” — Peter Burch, The Australian, July 2010

“The design by Jo Briscoe and Genevieve Dugard, referencing Toulouse-Lautrec and Aubrey Beardsley by way of Tim Burton, was glamorous” — Naomi Milthorpe, BMA Magazine, October 2010

Stickybricks, BighART, Sydney Festival

“Designer Genevieve Dugard has created a pristine mythic space incorporating projections against the building face” — Vanessa Bates, ArtsHub, January 2006

Tinyfolk Products

“Given Genevieve’s background and body of work in theatre set design it’s no wonder that she has made a product that’s not only really practical and easy to use, but directly taps into a child’s imaginative mind. You can open it up and get on with playing straight away” — Justine Clarke, entertainer, 2013.

“These super cool boxes are from brand new Tinyfolk, the brainchild of theatrical set designer Genevieve Dugard. It’s all designed to encourage kids to explore their own creativity and unleash opportunities for imaginative play, and of course, it can be recycled eventually when they’ve outgrown it” — Babyology, January 2013.

“Super-clever Sydney theatrical designer and mother-of-two Genevieve Dugard has launched a fabulous range of flat-pack cardboard play houses and puppet theatres for kids under theTINYFOLK label. Genevieve has taken the humble box to a whole new level with her fun designs” — Bondville, December 2012.

Contact me

  • Genevieve Dugard
  • Design for Performance
  • gen [at] gendugard [dot] com [dot] au
  • +61 403 362 778


[/row]