Current and forthcoming credits include: THE MODERATE SOPRANO (West End) NINE NIGHT, PERICLES and FOLLIES (National Theatre); NORMA (Met Opera); and ANGELS IN AMERICA (Broadway).
National Theatre credits include: PINOCCHIO, FOLLIES, ANGELS IN AMERICA, MOSQUITOES, COMMON, THE RED BARN, THE THREEPENNY OPERA, THE SUICIDE, BEHIND THE BEAUTIFUL FOREVERS, THE LIGHT PRINCESS, TABLE, THIS HOUSE (also West End & UK Tour), THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME (also West End, Broadway & UK Tour), A COMEDY OF ERRORS, DANTON, THE POWER OF YES, PHEDRE, DEATH AND THE KING’S HORSEMAN, WAR HORSE (also West End, Toronto, Australia, UK/US Tour & Broadway), SOME TRACE OF HER, WOMEN OF TROY, TRIPLE BILL, SAINT JOAN, ATTEMPTS ON HER LIFE, CAUCASIAN CHALK CIRCLE, WAVES, SOUTHWARK FAIR, PAUL, CORAM BOY, TRANSLATIONS, THE HOUSE OF BERNARDA ALBA, HIS DARK MATERIALS, PLAY WITHOUT WORDS, THREE SISTERS, JUMPERS, IVANOV, DARKER FACE OF THE EARTH and HAROUN AND THE SEA OF STORIES.
West End credits include: A MIDSUMMER NIGHTS DREAM, THE CRIPPLE OF INISHMAAN (also Broadway), PETER AND ALICE, and PRIVATES ON PARADE (Michael Grandage Company); HEISENBERG: THE UNCERTAINTY PRINCPLE (Elliott & Harper Productions); LOVE NEVER DIES; OLIVER!; and EVITA.
RSC credits include: WOLF HALL (also West End & Broadway), AS YOU LIKE IT, THE PRINCE OF HOMBURG, THE SEAGULL, TALES FROM OVID, THE DISPUTE, UNCLE VANYA, BECKETT'S SHORTS and THE MYSTERIES.
Royal Court credits include: HOW TO HOLD YOUR BREATH, CLYBOURNE PARK (also West End), POSH (also West End), THE CITY, KRAPPS LAST TAPE, FORTY WINKS, BOY GETS GIRL, NIGHT SONGS, THE COUNTRY, DUBLIN CAROL, and THE WEIR (also West End & Broadway).
Donmar Warehouse credits include: ELEGY, TEDDY FERRARA, LUISE MILLER, IVANOV (Donmar at the Wyndhams), THE CHALK GARDEN, THE MAN WHO HAD ALL THE LUCK, OTHELLO, ABSURDIA, THE CUT, PROOF and LITTLE FOXES.
Young Vic credits include: HAPPY DAYS, FEAST, THE GOOD SOUL OF SZECHUAN, GENERATIONS, VERNON GOD LITTLE, THE JUNGLE BOOK, AS I LAY DYING, 12TH NIGHT, MORE GRIMM TALES and OMMA.
Lyric Hammersmith credits include: SEVENTEEN, HERONS, BLASTED, THREE SISTERS, THE SERVANT, A CHRISTMAS CAROL and OLIVER TWIST.
Old Vic credits include: MOON FOR THE MISBEGOTTEN, DANCING AT LUGHNASA, AMADEUS and PLAYHOUSE CREATURES.
Complicité credits include: THE STREET OF CROCODILES, OUT OF A HOUSE WALKED A MAN, THE THREE LIVES OF LUCIE CABROL, A MINUTE TOO LATE and CAUCASIAN CHALK CIRCLE.
Additional theatre credits include: DON CARLOS (Sheffield Crucible and West End); LES MISERABLES 25TH ANNIVERSARY CONCERT (London O2 Arena), LES MISERABLES (25th Anniversary Production - Broadway and International); and PHANTOM OF THE OPERA (New Production).
Royal Opera House credits include: THE RETURN OF ULYSSES, CARMEN, FAUST, RIGOLETTO, THE MARRIAGE OF FIGARO, THE MAGIC FLUTE and MACBETH.
Glyndebourne credits include: NOTHING, ENTFUHRUNG AUS DEM SERAIL, THE MARRIAGE OF FIGARO, THE CUNNING LITTLE VIXEN, DIE MEISTERSINGER, BILLY BUDD (also BAM), RUSALKA, ST MATTHEW PASSION, COSI FAN TUTTI, GIULIO CESARE (also Met, New York), CARMEN, THE DOUBLE BILL and LA BOHEME.
ENO credits include: BENVENUTO CELLINI, COSI FAN TUTTI, MEDEA, IDOMENEO, SATYAGRAHA (also Met, New York), CLEMENZA DI TITO, GOTTERDAMERUNG, THE RAPE OF LUCRETIA ,THE RAKES PROGRESS and MANON.
Metropolitan Opera New York credits include: ROBERTO DEVEREUX, CAV AND PAG, THE MERRY WIDOW, THE MARRIAGE OF FIGARO, DON GIOVANNI and ANNA BOLENA.
Opera North credits include: PETER GRIMES, DON GIOVANNI, LA TRAVIATA, MAGIC FLUTE and ROSENKAVALIAR.
Welsh National Opera credits include: DON GIOVANNI, THE SACRIFICE and KATYA KABANOVA.
Additional opera credits include: TALES OF HOFFMAN (Salzburg Festival); POPPEA (Theatre Champs Elysees); AGRIPPINA and A MIDSUMMER NIGHT’S DREAM (La Monnaie); COSI and THE RING CYCLE (Opera National du Rhin); TRISTAN AND ISOLDE (New National Opera, Tokyo); INNES DI CASTRO and MADAMA BUTTERFLY (Scottish Opera) as well as productions throughout Europe, North America, Australia and New Zealand.
Dance credits include: ELIZABETH and PINOCCHIO for Will Tuckett, THE GOLDBERG VARIATIONS for Kim Brandstrup, SEVEN DEADLY SINS (The Royal Ballet), NAKED (The Ballet Boyz), LA BAISER DE LA FE (Birmingham Royal Ballet) and SLEEPING BEAUTY, DORIAN GRAY and PLAY WITHOUT WORDS for Matthew Bourne.
Paule is an Associate of the National Theatre, the Lyric Hammersmith and for Matthew Bourne’s New Adventures.
Paule has won the Oliver Award for Best Lighting Design a record four times (for CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, THE CHALK GARDEN, DON CARLOS and HIS DARK MATERIALS) and the Tony Award for Best Lighting Design twice (for CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME and WAR HORSE). She has also won the Knight of Illuminations Award for Best Lighting Design for SAINT JOAN, the LA Drama Desk Award for both LES MISERABLES and WAR HORSE, the New York Critics Circle Award and Drama Desk Award for both CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME and WAR HORSE, wasthe first recipient of the Opera Award for Lighting and received the Hospital Award for Contribution to Theatre.
EAR FOR EYE Earns Rave Reviews
Debbie Tucker Green's latest production at the Royal Court is a hit with critics and audiences alike, with Lighting Design by Paule Constable and Movement Direction by Vicki Manderson.
Pericles Goes Down a Storm ★★★★★
‘The National's vast Olivier stage has never seen anything quite like it before.’ - The Independent
The National Theatre’s first ever Public Acts production has gone down an absolute storm with critics and audiences alike.
'Inclusive, empowering, revitalising, celebratory, multicultural, multilingual and downright fun. This three-night community theatre smash-and-grab might just have changed the National Theatre for good.'
'There were moments that brought to mind the opening ceremony of the London 2012 Olympics; people coming together, en masse, to create something more than the sum of its parts. The director, Emily Lim, deserves a medal for corralling 233 performers (a record for the Olivier stage) into a roiling, broiling show that thrummed with life. Whenever the whole cast entered the stage as one, it felt like a coup. This is our stage, it said.'
'A giddy celebration of humanity and our endless capacity for warmth, togetherness and love.'
'Emily Lim has corralled the chorus brilliantly but she hasn’t polished the life out of them. Nervous smiles flash towards the audience and Shakespeare’s play feels so much more authentic and touching for it.'
'Jim Fortune’s original score is catchy, confident and eclectic, with Latin pop, folk and Bollywood influences as well as soaring romantic ballads. His music is complemented by cameo appearances from a range of London-based groups, whose performances are brilliantly varied and deeply soulful. No more so than when Pericles bids farewell to his daughter with a mournful lullaby, and a soloist from the London Bulgarian Choir lets rip with a haunting lament.'
‘It's a solid five-star show that transforms its challenges into opportunities (as all those management development courses insist upon) and delivers an unforgettable theatrical experience for everyone involved on either side of the fourth wall.'
'Extraordinary theatre indeed!'
‘Joyous, lively and community-focused’
‘The resulting production, which opened last night for three performances, teems with vibrant, diverse and witty life, qualities that Pericles is well-suited to display’
‘It’s the richest possible patchwork of styles, cultural influences and theatrical methods.’
'An epic undertaking, Pericles is the first born child of Public Acts, a nationwide initiative that seeks to create ambitious works of participatory theatre. And ambitious certainly is the word. The production features a cast of 120 Londoners from different backgrounds, additional performances from a variety of groups such as cheerleaders, a gospel choir and dance troupes. To say there is nothing like it in the West End is an understatement.'
★★★★★ for NINE NIGHT at the NT
This new play in which the West Indies tradition of a nine-night mourning period is brought to life upon the Dorfman stage, is directed by Roy Alexander Weise in his NT directing debut, with Lighting Design by Paule Constable.
Evening Standard ★★★★★
“Gloria’s three children are vividly realised in Roy Alexander Weise’s brisk production… an eloquent vision of what it means to be haunted by the past”
The Stage ★★★★★
“Roy Alexander Weise delivers with a skill that belies the fact that it is his National Theatre debut. Through his direction he creates with the cast perfect undulations of comedy and heartache.”
The Independent ★★★★
“raw, primal emotions are offset (without being undercut) by the mischievous comedy that bubbles through the script and Roy Alexander Weise's beautifully judged production.”
Broadway World ★★★★
“Roy Alexander Weise's direction is sharp and snappy”
“Paule Constable's lighting design gives the set extra character, ranging from atmospheric candlelit vigils to the cold light of day.”
Time Out ★★★★
“knife-edge power of a final scene where Maggie, guardian of traditions, becomes possessed by departing spirits”
The Upcoming ★★★★
Daily Mail ★★★★
ANGELS IN AMERICA arrives on Broadway
With Lighting Design by Paule Constable, Tony Kushner’s award-winning play arrives back on Broadway, 25 years after its premiere. Originally presented at the National Theatre in 2017, this production is directed by Marianne Elliott.
“Paule Constable’s ingenious lighting design create[s] stage pictures both majestic and intimate, befitting of Kushner’s sensitive, searching writing.”
New York Times
“Isolated spaces — apartments, offices, restaurants and hospital rooms — are defined by cool neon strips, with window-framed vistas as lonely as those of a Hopper painting.”
“this revival pulses with Kushner’s explosive imagination”
“Paule Constable governs the porous border between fantasy and reality with her subliminal lighting, which beams magic from the heavens but can just as quickly snap back to unforgiving realism.”
OLIVER AWARD NOMINATIONS 2018
GIRL FROM THE NORTH COUNTRY has been nominated for an Outstanding Achievement in Music award for the original orchestrations and arrangements by Simon Hale, along with nominations for Best New Musical, Best Actress in a Musical, Best Actor in a Musical and Best Actress in a Supporting Role in a Musical. Currently playing in the West End after transferring from the Old Vic.
FOLLIES has also been nominated for an Outstanding Achievement in Music award for The Orchestra, under the music supervision of Nicholas Skilbeck and music director Nigel Lilley, as well as Best Lighting Design for Paule Constable. It also received a further seven nominations including Best Director and Best Musical Revival, and played at the Olivier, National Theatre until January 2018.
ANGELS IN AMERICA received a nomination for Best Lighting Design for Paule Constable, her second nomination in this category, and also received nominations for Best Revival, Best Actor and Best Director amongst others for its run at the Lyttleton, National Theatre.
ON THE TOWN received a nomination for Best Musical Revival after running at the Regent’s Park Open Air Theatre with Lighting Design by Howard Hudson.
FOLLIES opens at the National Theatre
FOLLIES, by Stephen Sondheim and James Goldman, is directed by Dominic Cooke in the Olivier at the National Theatre. Nick Skilbeck is the Music Supervisor, Nigel Lilley is the Music Director & Conductor and Paule Constable is the Lighting Designer.
The Artsdesk ★★★★★
“Music supervisor Nicholas Skilbeck and conductor Nigel Lilley have elicited the best possible work; there are stunning contributions from some of the best wind and brass in the business”
“evocatively lit by Paule Constable”
“You leave giddy with the richness and complexity of it all. one of the great classics of the musical theatre is magnificently vindicated.”
The Independent ★★★★★
"The hairs on the back of my neck were begging for mercy for they got barely a moment’s peace, what with the thrilling sound of the orchestra (under Nigel Lilley’s fantastic musical direction)"
The Guardian ★★★★★
“It is quite simply breathtaking.”
“a production that perfectly captures the sustained emotional arc of Sondheim and Goldman’s musical”
“Sondheim's showbiz stunner returns in breathtaking style”
Time Out ★★★★★
“’Follies' is no folly but a perfect, devastating evocation of the pain of looking back”
“There's nothing like a Stephen Sondheim musical to make you wonder what the hell everybody else is playing at. Revived with considerable expense, a lot of style…frankly extraordinary”
The Telegraph ★★★★★
“the opulent spectacle of the night”
The Stage ★★★★★
“This isn’t just triumphant, it’s transcendent”
“Every 10 minutes or so there's another stunner of a set piece, sung impeccably”
The Financial Times ★★★★★
"an outstanding revival — spectacular, sassy, sorrowful and ultimately deeply sad. It’s as robust as an old trouper and as delicate as a cobweb, a brilliantly sustained reverie, superbly performed."
"the 21-piece orchestra bring the spectacle, while revealing in it the hollowness of fame and the damaging veneration of youth."
Broadway World ★★★★★
“it's thrilling, heartrending and utterly vital.”
“Nigel Lilley's magnificent brassy orchestra”
“Sondheim super-fans will certainly consider it worth the wait, but for the dedicated and uninitiated alike, it's simply spectacular theatre”
“establishes the greatness of Follies once and for all”
“Its strength lies less in its spectacle than in the calibrated detail”
The Evening Standard ★★★★
“lending clever pastiche with passages of uncomfortable introspection, it’s a genuinely fascinating study of the dangers of nostalgia.”
“real emotional weight — eloquent about desire, fantasy, illusion and regret”
The New York Times
"musical director Nigel Lilley’s 21-strong orchestra delivers the score with unusual luster: the brass section, by way of example, sends Buddy’s revelatory “The Right Girl” soaring"
"I’m not sure I’ve ever come across a “Follies” that carries the punch of the current staging"
"Guess that’s why they call him God"
If the foursome all realize how much they’ve been faking, they also come to see that the whole world’s a ruse. Divine"
Paule Constable and Paule Arditti are Lighting and Sound Designers on MOSQUITOES
Written by Lucy Kirkwood and Directed by the National Theatre Artistic Director, Rufus Norris, MOSQUITOES has Lighting by Paule Constable and Sound by Paul Arditti. It runs at the Dorfman Theatre at the National until September 28th.
“the kind of play that makes me want to punch the air in celebration”
“simple circular set, with a huge metal portal looming above it, is transformed by light”
“the play's constantly changing landscape…opens up whole worlds without ever losing its still centre or its capacity to hold the attention for every moment”
The Guardian ★★★★
“Paule Constable’s lighting and Paul Arditti’s sound design help to convey the momentousness of the Geneva experiments”
Broadway World ★★★★
“The science lectures are made palatable via immersive cosmic light shows - key contributions from Paule Constable, Paul Arditti”
“Hugely ambitious, intelligent and affecting, and a refreshing epic powered by two women who contain multitudes”
The Times ★★★★
"exhilarating in its ambition"
The Telegraph ★★★★
“tackles giant themes with a swaggering showmanship”
“Full of projected galaxies and cosmic cacophony… like an action movie…tough enough to handle it”
The Stage ★★★★
“It’s a joy though to see a play devote this much space and time to examining what it is to be a sister, a mother and a daughter, while also effortlessly contemplating the universe”
“Rufus Norris’ production takes the approach that, as this is a play about science stuff, it requires the deployment of all his toys”