Interview: John Napier

The acclaimed theatre designer talks about his work to Andrew Kay

John Napier is a theatre designer of international acclaim with a huge string of credits to his 50 year career and a list of awards to match. His work encompasses almost every theatrical form – dance, opera, drama, musicals, film and even a Las Vegas magic show. Napier’s innovative and distinctive style is responsible for some of the most iconic designs in theatre: the horses in Equus, the barricades in Les Misérables, the helicopter in Miss Saigon, the outsized junkyard in Cats, and of course Starlight Express. His work is now being celebrated in a major exhibition Stages at the Towner Gallery in Eastbourne.

What was your first experience of theatre?
My first live theatre performance, was in fact dance – The Martha Graham Company who were having a season at Sadler’s Wells and it was the first indication that design for theatre did not have to be conventional, as she was using a sculptor, Noguchi as her collaborator. The second was The Rise and Fall of the City of Mahagonny by Brecht which was designed by the great Ralph Koltai who was to become my mentor several years later.

When did you decide that theatre design was what you would pursue and make your career?
Probably on seeing the production of Ubu Roi as the Royal Court that was designed by David Hockney. I realised that theatre and art could co-exist.

Was there a breakthrough production that really got you noticed?
Indeed that production for me was The Ruling Class, a play by Peter Barnes. Embarrassingly the sets were applauded.

You have worked on many types of production, serious drama, comedy, musicals, opera… is there one area that you like more – either from the point of view of it being a new challenge or simply from the pleasure it brings? 
It doesn’t matter, in whatever genre they all bring their own challenges and you have to rise to them. The one thing that does bring me pleasure is sometimes when you have to improvise on the spot and make decisions that transform the production.

Is it always a pleasure or do some projects become less than pleasurable?
Occasionally because one’s ambition for the production cannot be met or serviced, for either financial or time constraints – it’s mildly less pleasurable.

Clearly a production is a joining of minds, director with designer and cast, but have you ever felt that you would like to direct or even perform?
I have directed a huge Las Vegas magic show, I’m not sure how this came about other than, Siegfried and Roy, the magicians I was working for, refused to have anyone else direct it as I had conceptualised it. As to performing – I once tried to instigate a production at The Other Place in Stratford in which the company would pick from a hat in which their role in the production would be defined. I thought it would be an interesting way to learn about each others’ talents… unfortunately everyone declined the offer!

How much of what you do requires in-depth research?
As long as a piece of string…

What have been the biggest creative influences on your work and your life – artists, musicians, directors, family, tutors?
My art teacher at school, Mr Birchill & Ralph Koltai.

How important are industry and public awards?
They’re not – but it is great to be acknowledged.

As an artist do you still get pleasure from drawing and painting, outside of your professional life?
Big yes – I ran a life drawing class from my London studio for 25 years. 

Are there any works that you would like to be asked to design?
Who knows?

What was the last production that you saw?
The last production I would like to admit to having seen was, Jerusalem 

What was the best piece of theatre design you have seen, that you did not work on?
It’s a long, long time ago – the Insect play, designed by Josef Svoboda 

And which is the production that has given you most satisfaction – a production that you did design?
Nicholas Nickleby

Work in theatre can be very consuming, how do you relax?
I go home and shag my wife… and occasionally read a book!

If you had not become a successful theatre designer what else might you have liked to be?
A rock star.

How many projects do you do in a year?
Now, none – too busy sculpting. In the past, it varied from one a month to one a year – depending on the production’s scale.

What are you currently working on?
Me.

John Napier: Stages, Beyond the Fourth Wall. 29 Nov – 31 Jan 2016 , Towner Art Gallery, Devonshire Park, College Road, Eastbourne BN21 4JJ, 10am – 5pm, Tuesday – Sunday & Bank Holiday Mondays, £5