Authorized Autobiography
Lindsay Anne Black is a set and costume designer, and photographer based out of Toronto. She has designed for physical theatre, dance, musicals and other live theatre of all sizes — from independent to commercial, scripted or devised. As a scenic artist and props builder, she worked for Tarragon, Theatre Passe Muraille, Buddies in Bad Times, Stratford, Shaw, The National Ballet, and many independent theatre companies. She resigned from scenic art in 2011, because of allergies. She was the recipient of the 2007 Pauline McGibbon Award, a Harold Award and has been nominated for four Dora Awards.
REVIEWS:
Birnam Wood by Theatre Rusticle:
” Lindsay Anne Black’s set and costumes are gorgeous” — Paula Citron, Classical 96
“Lindsay Anne Black’s evocative set immerses you in the world and has a dreamlike feel.” — Glenn Sumi, NOW Magazine
The Epic of Gilgamesh Up Until The Part When Enkidu Dies for Groundwater:
“The design is simple, effective eye candy. The representation of the demon Humbaba and the Bull of Heaven are two examples where the designers (especially Lindsay Anne Black on costumes and set) did a lot with a little.” — Katherine Sanders, Time and Space Magazine
April 14, 1912 by Theatre Rusticle:
“Black’s costume for Rupert is inspired. On the one hand, she looks like a ghoul, her haunted eyes rimmed with kohl, but there is a sense of glamour about her, just like the RMS Titanic that she represents. Her dress is in tatters, but in the leather front with its ribbed sides, we see the faded glory of the ship’s black and red motif, while the long, sea green train is her proud wake.” — Paula Citron, Globe and Mail
The Giants Garden at Theatre Orangeville:
“The garden itself is worth the price of admission. Set designers Steve Lucas and Lindsay Anne Black transport viewers to a whimsical fantastical setting with a number of capricious applications that are charming and clever.” —Ashley Goodfellow, Orangeville Banner
Nearly Lear by Magpye Theatre:
“Lindsay Anne Black’s movable screens work wonderfully to evoke palatial entrances, lusty beds or – in one poignant scene – a makeshift shawl for the mad Lear on the heath.” — Glenn Sumi, NOW Magazine
Okay, now that’s enough of that.
