Fine Arts Shining Alumna Narda McCarroll (BFA - Dramatic Arts '89)

Fresh off of a successful and thrilling run of the Woman in Black (Vertigo Theatre) as the lighting designer, alumna Narda McCarroll (BFA - Dramatic Arts '89) continues to dazzle audiences with her award-winning expertise in lighting, costume and set design. A mainstay in Canadian theatre, Narda reflects on her educational and professional journey.

Meet Narda. Imaginative, collaborative, meticulous.

What inspires your creative practice?

My creative practice is inspired by many things: Art, Architecture, Photography, Film, Fashion, Music, the things I see as I move through the world - such as the shape of a tree branch, or the colour of a faded wooden fence, my fellow theatre collaborators.

Why is it important to support arts communities and foster talent for future generations?

Art in all its forms makes life worth living. I can't imaging a world without books, music, painting, film, dance, theatre etc. Art can change your mood, it can change your outlook, it can make you laugh and it can make you feel. If we don't foster young artists the future generations will live in a very bleak world.

Why did you choose to pursue fine arts at the University of Lethbridge?

I was lucky to grow up in an artistic home. Both my parents are visual artists. My family moved from Californian to Lethbridge when my father, Billy Joe McCarroll, accepted a position in the University of Lethbridge Art Department. The walls of my childhood home were a gallery of ever changing art works. As well as the usual crayons, colouring books and play dough, I always had access to drawing pencils, pastels, paints and modelling clay.

Our house was also full of music. The record player constantly spun jazz, classical, a spattering of 60s classics and musical theatre. I was encouraged to take piano lessons and dance classes. My mother, Ingrid, took me to see theatre. My father played double bass in a jazz trio. I was raised to inherently understand that a world without art would not be worth living in.

Like many, my path into the theatre came through performance. I was a stage-struck kid who did shows all through high school. I was intent on studying drama in university. I'd seen shows at ULethbridge growing up and was familiar with the, at the time, new and impressive University Centre for the Arts building. ULethbridge's new BFA - Dramatic Arts program seemed like the perfect place to start my theatrical training.

While at ULethbridge, alongside performance classes, I also took a stage design class from the marvelous Terry Bennett and a costume history class from the amazing Leslie Robinson-Green—who I eventually got to work with professionally at Vertigo Theatre in Calgary. At the time I had no idea that I would eventually end up working as a set, costume and lighting designer.

What was your most memorable ULethbridge experience?

There are so many! My fondest memories are all tied to the many shows I had the opportunity to perform in. Playing Honey in Who's Afraid of Virginia Woolf? was a tremendous experience. Years later, I designed the lighting for a production of the play at The Citadel Theatre in Edmonton. I loved revisiting it in a new way.

What has your post-graduate journey looked like? How has your degree continued your professional and personal growth?

I moved to Edmonton after graduating from ULethbridge in 1989. It was a tough time to be a woman auditioning for professional theatre. Well, when has it not been? Three times as many women and less than 25% of the roles. Robin Phillips was the AD at the Citadel Theatre at that time. He was programming lots of classics, Shakespeare in particular. This was before non-traditional casting. So, 20 roles for men and three or four for women. He brought most of the leads in from the east, so that meant maybe one role for a local —if she was lucky! It was rough.

I did have a few amazing acting opportunities. I performed in two of my favourite musicals: Evita at Theatre Calgary and Sweeney Todd: The Demon Barber of Fleet Street at the Phoenix Theatre in Edmonton. I acted in dinner theatre and a few new plays, including one I co-wrote for the Fringe with fellow Lethbridgian Sharla Matkin. I also waited on a lot of tables!

I eventually decided to go back to school to study Theatre Design. Those early classes with Terry and Leslie as well as my visual arts upbringing made this seem like a smart choice. I couldn't imagine giving up theatre entirely.

I graduated from U of A with an MFA in 2000. I've been working as a designer ever since. I've worked in theatres across the country including: Citadel Theatre, Catalyst Theatre, Free Will Players, Mayfield Dinner Theatre, Edmonton Opera (Edmonton); Alberta Theatre Projects, Theatre Calgary, Vertigo Theatre, Calgary Opera (Calgary); The Stratford Festival; National Arts Centre (Ottawa), Tarragon Theatre (Toronto); Royal Manitoba Theatre Centre, Rainbow Stage (Winnipeg); The Globe Theatre (Regina), Vancouver Playhouse, Arts Club (Vancouver); Belfry (Victoria) and Western Canada Theatre (Kamloops).

I thought I'd miss acting but I rarely do. I love being part of the collaborative art form that is theatre. My BFA - Dramatic Arts training influences the designer I am today. I'm able to think of set, props, costumes and lighting from the actor's point of view which is very helpful in my process.

What is a recent career highlight?

As a designer I've had the opportunity to work on a lot of new Canadian plays. Some of the highlights of my career are the original productions I've worked on and toured with: The Drowning Girls by Beth Graham, Charlie Tomlinson & Daniela Vlaskalic (ATP/Bent-Out-of-Shape Productions), Vigilante by Jonathan Christenson (Catalyst Theatre) and Glory by Tracey Power (WCT/ATP).

What piece of advice would you give to students?

If there's anything else you think you might be happy doing besides theatre—DO IT! It's a tough business. You have to LOVE it. If you do go into theatre, remember that every person you meet might be a fellow collaborator someday. We don't make enough money in theatre to work with difficult people. Always try to be your best you and bring your best to the rehearsal hall and to the stage.