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Tanya McCallin

Tanya McCallin


Sweeney Todd by Stephen Sondheim, designed by Tanya McCallin, Théâtre du Châtelet, 2011


Sweeney Todd by Stephen Sondheim, designed by Tanya McCallin, Théâtre du Châtelet, 2011 Photo by Roy Tan

Tanya McCallin is a distinguished theatre and opera designer who works extensively in Europe, the U.S.A. and Australia.  She has been associated with many important London theatre productions including premières of works by Arthur Miller, Pam Gems and Mike Leigh and productions of Chekhov, Sheridan and Shakespeare. After training at Central St Martin’s School in London, she became resident designer with a number of British regional repertory companies.

Her extensive opera work includes: The Barber of Seville for the English National Opera, which was her first major opera design, and is still in the repertoire (also seen in Barcelona).

She worked with Francesca Zambello in 2006 to design Carmen (also Oslo, Australia and China) for the Royal Opera and La Traviata(Bolshoi Theatre, 2012.

She has regularly collaborated with David McVicar for whom she designed Rigoletto (Savonlinna Opera Festival), Le Nozze di Figaro (ROH, Valencia and DVD); Turn of the Screw (also ENO) and Macbeth for the Mariinski St Petersburg (the latter also seen in London, Washington DC and the Metropolitan Opera), Manon at the ENO (also Dallas, New Zealand, Houston, Chicago and Barcelona); Les Contes d’Hoffman for Salzburger Festspiele and La Traviata (Scottish Opera/WNO, Geneva, Barcelona, Madrid); the sets for Semele (Théâtre des Champs-Elysées); costumes for Cosi fan Tutte (Strasbourg); Rigoletto for ROH (also Madrid, BBC + DVD) and Der Rosenkavalier at Scottish Opera.

In 2011 she designed Lee Blakeley’s production of Sweeney Todd for Théâtre du Châtelet, revived in 2015 by Houston and San Francisco Opera.

Praise for Le nozze di Figaro:

” Tanya McCallin’s mansion set, always a draw in its own right with its graceful transition from act one to act two, is populated by a peripheral gallery of below-stairs supernumeraries who come to the fore during one of the busiest overtures ever staged.”
– Mark Valencia, WhatsonStage ★★★★

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