© Lisa Tomasetti
Designer - Lighting
Chimerica (Sydney Theatre Company)
"... On David Fleischer's vast, dark open set, splendidly lit by Nick Schlieper, the ensemble changes the settings with breathtaking pace."
Lucy Kirkwood, The Australian, March 9 2017
Waiting for Godot, Sydney Theatre Company, Barbican Centre London
The Telegraph, June 2015 Jane Shilling
"…This is a monumental, monochrome, vaguely post-apocalyptic wasteland, brilliantly lit by Nick Schlieper in hard-edged tones of metallic silver and grey”.
Patyegarang, Bangarra Dance Theatre
The Australian 16 June 2014 Deborah Jones
´…the staging is outstandingly beautiful, so much so that Patyegarang may be enjoyed as a work of visual art. The evocation of a pristine land and the play of light on rock are magical, adding to the atmosphere of otherworldliness"
"Nick Schlieper’s lighting - from below, the sides or above – is wonderfully expressionist and atmospheric.”
A Streetcar Named Desire
“The brilliant lighting by Nick Schlieper giving a subtlety to the towering set...
Sydney Morning Herald
Nick Schlieper designs for all of the major performing arts companies in Australia, and works regularly in Europe and USA. He is one of Australia’s most highly awarded designers having received six Melbourne Green Room Awards, six Sydney Theatre Awards, the inaugural 2013 Australian Production Designers Guild Best Lighting Design Award, as well as 5 Helpmann Awards and in 2016 a Nomination for Best Lighting and Best Set (with Simon Phillips) for North by Northwest (MTC and Kay and McLean Productions).
Recent engagements include his debut at the prestigious Salzburg Festival, designing the lighting for Aribert Reiman’s Lear in the FelsenReitschule, Chimerica, Three Sisters, All My Sons, Speed the Plow, A Flea in Her Ear and Switzerland (at MTC) for Sydney Theatre Company; Macbeth for Melbourne Theatre Company, Ghosts and Twelfth Night for Company B Belvoir, Bennelong for Bangarra Dance Company, a return commercial season at Melbourne’s State Theatre of North by Northwest, and The Fiery Maze for Malthouse. Nick also returned to the National Theatre of Norway for Private Confessions, directed by Liv Ullman. He also lit Sydney Theatre Company’s revival of The Present with Cate Blanchett on Broadway.
2018 engagements include, The resistable rise of Arturo Ui, Still Point Turning, St Joan, Harp in the South and A Cheery Soul all for Sydney Theatre Company, return seasons of Priscilla Queen of the Desert, The Musical across Australia, Bennelong for Bangarra Dance Company at the Adelaide Festival, Twelfth Night for MTC and L’elisir d’amore for New Zealand Opera.
During recent seasons he has worked with the major Australian theatre and opera companies including Opera Australia (Il Turco in Italia, The Marriage of Figaro, Tosca), Verdi’s Otello directed by Simon Phillips, for a co-production between Cape Town Opera, NBR New Zealand Opera, Opera Queensland, State Opera of South Australia, Victorian Opera and West Australian Opera, STC (notably Travelling North, Macbeth, The Maids, Switzerland, Rosencrantz and Guildenstern Are Dead, Waiting for Godot, Face to Face (set and lighting design), Long Days’ Journey into Night in Sydney and Portland, USA, Big and Little in London, Paris and Vienna, Uncle Vanya in N.Y, War of the Roses, Dissocia, Elling, The City and A Streetcar Named Desire), Malthouse/STC co-production of Baal (set and lighting), Malthouse (Pompeii LA, set and lighting design), MTC (Hamlet, Richard III); Bell Shakespeare Company (Hamlet, Othello, King Lear), Queensland Theatre Company/STC co-production of No Man’s Land, Belvoir Street (Once in Royal David’s City (set and lighting design), Every Breath and Death of a Salesman) and Opera Queensland.
Nick’s work in Music Theatre includes First Wives Club The Musical for the Oriental Theatre, Chicago, Priscilla Queen of the Desert, The Musical in Australia, New York, Toronto, London, Sao Paolo and throughout Europe; Love Never Dies in Hamburg, Tokyo, Sydney and Melbourne for The Really Useful Company (filmed and released on DVD and Blu-ray worldwide and released in cinemas in USA and Canada).
His extensive work in opera in Australia 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 also lighting and associate set designer of the first Australian production of Wagner’s Ring Cycle in Adelaide in 2004.
His theatre credits include Endgame, (for which he won Sydney Critics Award for Best Stage design in a Mainstage production) The Present and King Lear, The 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; North by Northwest and Death and the Maiden (also for Sydney Theatre Company), Pennsylvania Avenue, Ninety, The Glass Soldier, Cyrano de Bergerac, Two Brothers, The Visit, Inheritance, Great Expectations, Proof, The Tempest, Comedy of Errors, Poor Boy, andMeasure 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 for Queensland Theatre Company;Lulu, Black Mary, The Unexpected Man and Measure for Measure for Belvoir Street Theatre.
Nick has also designed lighting for Scheherazade for the Australian Ballet, the acclaimed Cinderella for Royal New Zealand Ballet and several works for Bangarra Dance Company including Patyegarang and Bush (which has toured extensively in the USA and to London).
His international work includesproductions of Waiting for Godot (at The Barbican, London), 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 the RuhrFestspiele, Germany, Armut, Reichtum, Mensch und Tier and The Ginger Man for Deutsches Schauspielhaus in Hamburg; Kasimir und Karoline and Lea's Hochzeit for Theater in der Josefstadt, in Vienna; U.F.A. Revue for Berlin and Kennedy Centre Washington; Michael Kramer and Ein Florentinerhut for Schillertheater in Berlin; Michael Bogdanov’s productions of Macbeth and Peer Gynt for the State Theatre of Bavaria; Uncle Vanya (directed by Liv Ullman for The National Theatre of Norway) Aristokraten in Stuttgart; Tales of Hoffman in Wiesbaden; Away and Summer of the Seventeenth Doll at the Summerfare Festival in New York and Hedda Gabler and Streetcar Named Desire, with Cate Blanchett, also in New York.
Nick Schlieper is managed by Graham Pushee: email@example.com
This biography is for general information purposes only and not for publication.
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