Princess Essex, a new play written by Anne Odeke, is based on the true story of Princess Dinubolu, the first woman of colour to enter a beauty pageant in the UK. This happened in Southend-on-Sea, Essex, at a building called the Kursaal, which still stands but is now disused. Designer Hayley Grindle used a combination of painstaking research of real historical records, and a collaborative creative vision for the fictionalised world of the play. She talked to Jessie Acton, Senior Marketing Manager, about how everything came together.

How did you, Anne [Odeke, writer and performer] and Robin [Belfield, Director] start working together on the vision for the show? 

From the moment I read Anne’s script, I could tell that she had worked on the Globe stage; I felt like she guided me around the stage as we move through the scenes. We spent a lot of time talking through ideas, and working on the model box design. But for the characters, they really came to life when we did the R&D, because when you meet the performers, you can suddenly tell who that character is going to be. The rehearsal process was one where we delved into a lot of the more serious issues together too, so it became very intimate, very collaborative, and very trusting. Everything gets enhanced when you have a dialogue with the director and the performers, and you can tailor the design to the person.  

Let’s talk about those costumes – they’re Edwardian, but they’re also colourful and fun, and there are so many! 

The research for the costumes was… extensive. Originally, there were 85 characters, and each had their own story! Even now, there’s so much multi-roling. Practically speaking, each person has up to 9 different costumes, so there’s a whole other choreographed, beautiful, chaotic show going on backstage with all the quick changes. So all those backstage people are part of the story too. 

I was also aware that the Globe is a huge tourist attraction, and the play includes costumes from loads of different countries taking part in the pageant. We had to be mindful of how we represented them all, so not leaning too far over into stereotypes, and for the men dressing as women, ensuring it wasn’t becoming too pantomime. The show is fun, so in turn, the costumes become fun without having to force it.

Talking of the space, it’s quite often a ‘character’ in its own right; a building with a lot of history and preconceptions. How did you feel about bringing the Kursaal into it, and designing the set for the Globe? 

We really wanted the audience to walk in and immediately feel welcome, safe, and like they were going to have a celebration. I’ve decorated the whole auditorium, not just the stage, and the stage comes out in places right into the audience. I came and sat in the space, stood on the stage, thought about all the different sightlines, and how I could give everyone an experience – a little treat! In terms of the Kursaal, another iconic building, Anne had already done a lot of research, so I surrounded myself with images of the building through time. It was about making the two spaces become one – for example, the Kursaal was built on an ice-cream parlour, so we have an ice-cream trike rolling across the stage! The Kursaal was the heart of the community in Southend, and the Globe is so important to people. The most important feeling to create was one of belonging.  

I’ve loved coming to the Globe every day – my colleagues are amazing, but there’s also something about this space. Being on the Thames, looking across to St Paul’s, seeing how the light changes throughout the day…  

Speaking of light… those ‘Kursaal’ lights are quite a centrepiece, hanging over the stage. How did they come about? 

I always incorporate lighting into my designs – but there is no lighting in the Globe! So I put up a big, light-up sign, which is the iconic Kursaal sign… and thankfully the production team let me have it. There’s something magical about it when it comes on in the evening. 

Yes, the Globe utilises ‘shared light’, meaning the audience and actors share the same light – usually daylight – whereas here they get to share the shining lights of the Kursaal! What’s your design journey been like, and do you have any tips for aspiring designers? 

This job is a marathon, not a sprint. When you leave college, there may be that one person who is catapulted to instant success, but for most people, it’s a slow burn career, and that’s important. Learning your craft, learning storytelling, learning how to work with small budgets! It’s important to give yourself time to do that, and to learn your audiences – they’re all different. It’s a very collaborative job, and you’ll get to work with all sorts of people. If you’re confident in yourself and your work, then the trust will be there. Try not to compare yourself to others – you’re becoming your own artist. Then, when the big, exciting jobs do come along, you’ll be ready. Buckle in for the long ride – it will be ok!   

Princess Essex plays in the Globe Theatre until 26 October. 

FINIS.