Glenn Hughes

Creative

Glenn Hughes has worked as a Lighting Designer for many companies including the Melbourne, Sydney and Queensland Theatre Companies, Playbox, Victorian Arts Centre, Queensland Performing Arts Centre, Sydney Opera House, RealTV, La Boite, Bangarra Dance Theatre, Queensland Ballet and the Melbourne and Sydney Festivals.

After training in Adelaide he travelled to London, working initially in the West End and then four years at the National Theatre of Great Britain in repertory. He joined the Victorian Arts Centre in 1983 as Head Lighting Technician and subsequently held the positions of Lighting Master (1984-86) and Production Manager (1987-93) He spent a year with Melbourne Theatre Company in 1994 as touring Lighting Designer before joining the Queensland Theatre Company as Production Manager (1995-97).

Glenn has continued to work widely as a Lighting Designer since 1998 and has taught lighting design at WAAPA, RMIT and QUT. Ballet and Dance lighting credits include: Alice in Wonderland, 1001 Nights, Rite of Spring, Mahler's Tenth, Peer Gynt, A Midsummer Nights Dream, Blue Angel Cabaret, International Gala 2000-2006 (Queensland Ballet) Into (Riverside/Sydney Festival) Spirit, Clan, True Stories (Bangarra Dance Theatre) Essentially Dance 2013/16 (QUT).

Other lighting credits include: The Glass Menagerie, The Conjurors (La Boite) Tall Man (RealTV/La Mama) Half and Half (Jute) Spirit of the Lore, Stolen (ACPA) Kin (GOMA/Malthouse/ Sydney Festival) It All Begins With Love, Tales of the Underground (Creative Regions) Angels In America, A Chorus Of Disapproval, The Merchant of Venice (QUT) Jerusalem (STC) St James Infirmary, A Flea In Her Ear, Shark Fin Soup, Three Sisters (MTC) Sex Diary Of An Infidel, The Temple, A Return To The Brink, Crazy Brave, Julia 3, The Simple Truth (Playbox) The Hundred Year Ambush, Talley's Folly, A Soldier's Story (VAC) Skylight (QTC) Desirelines , Prometheus (Melbourne International Festival) Australian National Day Celebrations, Rivers Of Light (World Expo, Aichi, Japan, 2005).


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We acknowledge the traditional custodians of the land on which we work and perform. Long before we performed on this land, it played host to the dance expression of our First Peoples. We pay our respects to their Elders — past, present and emerging — and acknowledge the valuable contribution they have made and continue to make to the cultural landscape of this country.

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