OFFSTAGE Ep. 4
¿Cuánto Vale tu Trabajo?
Skene Staff
Explore EXPO SCÈNE with CITT ICTS and OFFSTAGE host Josafath Reynoso. A deep look at careers community and live performance in Canada.
Explore EXPO SCÈNE with CITT ICTS and OFFSTAGE host Josafath Reynoso. A deep look at careers community and live performance in Canada.
Lighting and scenic designer Patricia Gutiérrez Arriaga on theatre, spirituality, minimalism, and finding meaning through light.
Jay Duckworth explores theater’s sacred origins, tracing how performance began as ritual and endures as humanity’s oldest art.
In-depth interview with director Rebecca Miller Kratzer on collaboration, intuitive process, and redefining leadership in theatre.
Composer Jaimie Pangan on discipline, indie storytelling, and creating music that connects emotionally across film and games.
Bentley Heydt’s journey as an artist began with a simple revelation: “I walked into the theatre one day and never left.” This initial spark ignited a passion for the transformative power of theatre and its ability to create collective emotional experiences. With a career shaped by collaborations and a deep respect for the artistry of others, Heydt has worked across multiple productions, including his standout memories from An American in Paris and The Color Purple.
In this interview, we explore his creative process, the challenges of imposter syndrome, and the bold inspirations that shape his work. From the intersection of lighting and choreography to the growing influence of video design, Heydt reflects on what excites him about the future of theatrical design and offers valuable advice for emerging artists.
In this edition of PROFILES, we examine Bentley Heydt’s work and his impact on the global stage.
I like to say I walked into the theatre one day and never left. A friend enlightened me to the idea that art is essential because art makes us feel. Theatre gives a collective group of humans the opportunity to feel together and being able to craft that experience with my friends is so inspiring to me.
An American In Paris on Broadway in 2014, Lighting by Natasha Katz. In the overture depicting Paris rebuilding itself after World War 2, there is a moment in the choreography that captures several people stopping to breathe collectively and the way Natasha Katz expressed their relief in this shattered moment in their lives is still burned in my mind. It was harmonious and for a brief moment the collaboration of lighting and choreography to tell this story married so flawlessly.
It definitely strikes spontaneously. I will wrestle with a show after reading it initially by doing mundane tasks (like taking walks or a shower or playing videogames) and letting my subconscious take a look at everything and start piecing the puzzle together.
I feel like I am still battling my biggest challenge which is that I still have the urge to call myself a fraud. The imposter syndrome constantly lurks in the back of my head, but I think I have become accustomed to it being there now and it helps me question every choice I make and questions me about the efficacy of my responses.
I pull inspiration from a multitude of expected and unexpected places. The expected are artists like James Turrell and Dan Flavin, who take bold choices with their lighting and often I reference the boldness of their work in my own if the moment calls.
I think in theatrical design the implementation of video design is thrilling because it can elevate so much about the stage image. In the theatrical industry, Illinoise was such a beautiful accomplishment and I hope more stories are told in that style.
Keep up with your taxes!
At the end of the day, I want someone to come away reflecting on how the piece they saw just made them feel.
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