Sydney Theatre Company's production of 'The Picture of Dorian Gray' was the most thrilling artistic experience of my life. It was a dazzling innovation. An evolution of what director Kip Williams calls 'cine-theatre', the blending of live performance with live and pre-recorded video.

So, it was with relish that I accepted an invite to hear Kip share insights into his philosophy, inspirations and process.

These are a couple of takeaways I found particularly remarkable.

INNOVATION NEEDS BOUNDARIES AND BOLT CUTTERS
Kip's mastery of cine-theatre evolved through his experimentation across a number of productions. Inspired by theatre practitioners such as Benedict Andrews and filmmakers such as Michel Gondry, Kip developed some Guiding Principles around this nascent medium - one of which was an unshakable commitment that the video must be live, not pre-recorded. This, he believed, was essential for honouring theatre's ephemerality.

To create constraints around oneself is a critical part of the artistic practice, particularly when venturing into a realm of vast possibilities. But, having found a confidence through experience and building a highly-skilled and devoted team, Kip was inspired to cast off this constraint and embrace pre-recorded video. Doing so, made it possible for Erin Jean Norvill to not only play the 26 characters on Dorian Gray, but for those characters to interact and share dialogue with one another, via the video screens.

Using old technologies like greenscreen and new technologies such as staging software called Disguise, the STC team were able to capture the feeling of spontaneity and ephemerality, whilst delivering a sprawling, high-octane 2-hr performance, that needed to be choreographed to the millimetre.

What rules could you challenge that might unlock your magic?

INNOVATION NEEDS A REIMAGINING OF ROLES
Another of Kip's Guiding Principles for cine-theatre is that 'the camera must be active and acknowledged'. This means there are camera operators are on stage, dancing around the performer(s), to capture the perfect angle. As an audience member this is initially distracting, but one soon adapts, as the principle is firmly adhered to.

It meant that Kip needed extraordinarily skilful operators, particularly when a show called for the use of the heavy steadicam rig. But, there was something missing. The operators were brilliant, but they didn't get theatre. Kip had the audacity to replace the camera operators with theatre directors. It was easier to train them in the camera skills, than it was to teach the operators the instinct for the theatrical moment.

What other roles might your talents be useful in?

The latest iteration of The Picture of Dorian Gray, starring Succession's Sarah Snook, recently opened to incredible reviews on the West End in London.

The final instalment of Kip William's cine-theatre gothic trilogy, Dracula, is opening at STC in July. You do not want to miss it.