Mark Galione was born in London and has been living and working in Dublin since 1995. In London, Mark was a technical manager for Sadler’s Wells Theatre before leaving to become a full time lighting designer so most of his lighting designs ware for contemporary dance.
His lighting designs in England and Europe included work for Nigel Charnock, Emilyn Claid, Ricochet, Small Axe, Gaby Agis, Sadler’s Wells, The Royal Ballet, Sherman Theatre and Soho Theatre Companies.
Mark’s designs in Ireland include works for Irish Modern Dance Theatre, CoisCéim, Dance Theatre of Ireland, the Peacock Theatre, Fibín, Hands Turn, Classic Stage Ireland, Barabbas, Holocaust Memorial Day at The Waterfront, Vesuvius, The Ark, Gúna Nua, The Lir, Gonzo Theatre, the Civic Theatre, Peer to Peer, Theatre Lovett, and Barnstorm Theatre. He has also designed multiple productions for Fishamble: The New Play Company, and has also lit many music performances and TV shows. Mark now works with High Resolution Lighting, a Dublin based lighting design consultancy which specialises in television and event lighting.
- Nominated Best Lighting Design, Irish Times Theatre Awards 2011 for 'A Murder of Crows' (Barnstorm)
The Pride of Parnell Street is a beautifully complex and layered piece that creates such vivid images. There is the ever-present shadow of the decay and imminent death of joy, his love for Janet, his guilt for his abuse of her and his regret at losing her. I used shadows of parts of the set to project different and continuously creeping shadows to represent the impending doom of Joe and the journey of Janet. Water was represented by using running water and light in several ways.
The play has several references to gently lapping water. We used water flowing down a window that was lit, we developed an adaptation of a Victorian lights and mirrors trick called Pepper’s Ghost, to allow rippling water to appear and disappear in the window and at the end of the play we filled a pool of water in the set that we bounced light from to light Janet as she watches her husband die.
Noah and Natalie are simultaneously free and hopelessly trapped in their lives. Lives that they both want desperately to change and yet cling onto with a white knuckle grip. It’s a play of extremes of serenity and anger, hope and desperation, intimacy and isolation. I wanted to use the lighting to create an architecture that represented this juxtaposition.
There is an ever presence of the Ballymun Towers, what they represent and their impending demise that informed the lighting at every stage. There are moments of tragic comedy in the piece that I needed to address with sensitivity.
Our journey as a creative team was also full of extreme contrasts. How often is a lighting designer asked to light a powerful urban drama then finds themselves producing a three minute light show to an Elton John Song in the middle?
Each element of the set was lit individually to bring out various elements and isolate the characters.