GREENWICH + DOCKLANDS INTERNATIONAL FESTIVAL

GREENWICH LONDON, UK

During my three-year tenure at the Greenwich Docklands International Festival, I advanced to the role of Senior Production Manager, leading the comprehensive planning, design, and technical delivery of a groundbreaking portfolio of greenfield theatre and cultural events.

The festival runs annually and, in the words of The Guardian, makes an “unrivalled contribution to the happiness of the people of London”, attracting audiences of over 50,000 each year. Forming part of the Royal Greenwich Festivals, the flagship event champions cultural vibrancy and is steadfast in its commitment to raising the ambition, quality and diversity of outdoor work produced in the UK.

GDIF is led by visionary Artistic Director Bradley Hemmings MBE, whose work pushes the boundaries of traditional theatre, incorporating innovative multimedia elements, interactive experiences, and cutting-edge technologies. Attendance at the festival is free, with a commitment to making the arts accessible to all, regardless of physical ability, socioeconomic background, or age.

As technical production lead, working at the festival was a source of daily inspiration. Bradley's extraordinary talent for directing powerful, emotionally compelling spectacles while cultivating moments of intimacy pushed me to refine my craft. I was often humbled to collaborate with a broad spectrum of internationally renowned theatre groups, production companies, and performance artists. Amid the logistical challenges of designing aerial rigs to fly acrobats fifty meters off the ground with one-hundred-tonne cranes, or installing train carriages on military parade squares, I assimilated a profound wealth of creative insight and expanded my technical proficiency.

Our commitment to producing fully accessible and inclusive events at each of our prestigious world heritage host sites was further expanded upon in the design and execution of the Mayor of London’s Liberty Festival and National Paralympic Day events. These partner festivals, showcasing and celebrating disability in the arts and sports, ran annually within the QE Olympic Park.

Instrumental in operational planning and site mapping, I assembled a diverse project team comprised of national charities and disability advocacy partners, consulting on potential barriers to participation. Compiling a comprehensive report identifying key challenges faced by D/deaf, disabled and neurodivergent individuals; I outlined a robust operational strategy to maximise accessibility, inclusivity and engagement across all participant groups.

A strategic decision to host the event at Stratford aligned with the Olympic Legacy plan, while providing one of the most accessible public spaces in London. The site was carefully selected to provide a multitude of public transport links and additional blue badge parking, both of which were supported by park-and-ride mobility buses and buggies. Our approach for zoning revolved around the location of the main stage providing a geographic centre and allowing for equidistant travel between areas, abridged with a network of custom-engineered walkways.

Information points and accessible well-fare facilities were installed across all entry points, and multiple key locations within the site, providing access to a diverse team of access consultants, including but not limited to BSL interpreters, site guides, audio describers and personal assistants. We designed braille versions of event programmes to provide key information on stage times along with visual, and tactile representations of the event’s streets, information booths, first aid tents, restrooms, bus stops, camping, parking, and notable features.

Our performance areas were carefully composed to maintain a sense of communal belonging while implementing technical production solutions to enhance accessibility and amplify the live experience. Sound design was crucial, getting the balance right for each demographic, with each stage fitted with audio induction loops, and where larger rigs proposed an issue we set elevated viewing platforms with adjustable relay monitors. In one instance, sound engineers were consulted to design a bespoke-bass-heavy sound system within the Deaf Rave arena, enabling individuals with hearing loss to literally feel the music.

Adaptations to interactive experiences were carefully designed, ensuring appropriate adaptations were made to ensure accessibility. Other quiet spaces provided an escape from the energetic outside world, one standout feature comprised a giant inflatable cavern that could be internally explored, illuminated with soothing lighting design and intimate immersive performances.

The opportunity to work with Greenwich and Docklands International Festival was instrumental in both my personal and professional development, equipping me with a dynamic approach to creative technical production approach and instilling strong social and community values which remain core to my practice today.