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 (two for set design and 4 for lighting design), 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 Nick’s debut at, and return to, the prestigious Salzburg Festival, designing the lighting for Aribert Reiman’s Lear in the FelsenReitschule, and for Cherubini’s Medeé; as well as Mosquitos, Cat on a hot tin roof, The Real Thing, Still Point Turning, Harp in the South, A Cheery Soul, The Resistable Rise of Arturo UI, Chimerica, Three Sisters, All My Sons, Speed the Plow, A Flea in Her Ear and Switzerland (also at MTC) for Sydney Theatre Company; Macbeth, Twelfth Night and Photograph 51 (also set design) for Melbourne Theatre Company; Packer and Sons, Ghosts and Twelfth Night for Company B Belvoir; Bennelong (also at Adelaide Festival), Unaipon and To make fire, and the exhibition Knowledge Ground celebrating their 30th Anniversary for Bangarra Dance Company; return commercial seasons of North by Northwest in Melbourne, Brisbane and Adelaide, Love Never Dies in Tokyo, and Priscilla the Musical in Melbourne; and The Fiery Maze for Malthouse. Nick also returned to the National Theatre of Norway for Private Confessions, directed by Liv Ullman, and to New Zealand Opera for The Elixir of Love. He also lit Sydney Theatre Company’s revival of The Present with Cate Blanchett on Broadway, and The Space Between the Notes (Emma Matthews’ one woman show in Melbourne).
Nick has worked with all 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, Opera Queensland, State Opera of South Australia, and West Australian Opera, STC (notably Travelling North, Macbeth, The Maids, Switzerland, Rosencrantz and Guildenstern Are Dead, Waiting for Godot, set and lighting design for both Face To Face and Endgame, Long Days’ Journey into Night in Sydney and Portland, USA, Big and Little in London, Paris and Vienna, Uncle Vanya in N.Y and Washington, 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 and set and lighting design for Death and the Maiden); 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 at 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), Hamlet, 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 many works for Bangarra Dance Company including the 2019 30th anniversary “Knowledge Ground” exhibition at Carriageworks, Patyegarang, Bennelong 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.