Today we’d like to introduce you to Janice Chan.
Hi Janice, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
Can you briefly walk us through your story – how you started and how you got to where you are today. You can include as little or as much detail as you’d like.
“I’ve always been fascinated by the production design of experiences, in which we live our lives—our stories. I remember walking into restaurants as a child and taking in the details of the lighting fixtures, decorations, and furnishings, and taking note of the mood and ambience these curated pieces evoked. Design, in many aspects, have been a passion of mine ever since I could remember. I was lucky to have the opportunity to express my creativity at an early age, and was encouraged by my family to pursue the arts. I could tell how encouraging my mother was when she even allowed me to plaster a bunch of Disney poster cutouts from magazines all over the living room wall, right above the sofa where we’d entertain guests on a regular basis – she never thought that my “creativity” and “knack for design” would embarrass or compromise the aesthetics of her interior design.
What I loved about design is how much a particular arrangement of colours and textures could communicate, but I didn’t think it could be a career path. After my second year of college, having explored more corporate fields like advertising, an academic advisor suggested theatre. At this point, I knew almost nothing about theatre but my grades were suffering and I felt completely out of place academically. I was ready for change and scenic design felt right. After my first semester in the program, I felt like I had found my place, and I consistently managed a 4.0 GPA. I was mentored by professionals in the field while being given the opportunity to design in several department seasons. People were buying tickets to see my work, and it was terrifying yet thrilling.
At this point, I knew I wanted to keep going. I sought local design opportunities with nonprofit, An Other Theater Company, where I later became the Director of Scenic of Props. I got to meet and work with many theatre professionals in the area on a variety of productions over the years. I’m now the resident designer at Plan-B Theater Company and I still return to design at my alma mater, nowadays as a professional.”
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Has it been a smooth road? If not, what were some of the struggles along the way?
“I consider myself incredibly lucky. I’ve had amazing support systems throughout my academic career as well as my personal life, and have felt guided in my path through the years. There have been projects that have stretched me and helped me grow into the person I am today. Lessons that I’ve learned along the way as a creative have made an even greater impact on me as a human being.”
Thanks – so what else should our readers know about your work and what you’re currently focused on?
We’d love to learn more about your work. What do you do, what do you specialize in, what are you known for, etc. What are you most proud of? What sets you apart from others?
“I’m a scenic designer based in Utah County, and my work spans theatre, opera, and dance. My role is to collaborate with playwrights, directors, and designers to create an environment that supports and enriches the stories. I work closely with the director and designers (lighting, costume, sound, makeup, etc.) to build the visual world of the play. Everything from the walls to furnishings, and sometimes the props, are all designed with intention to tell the story. Some set pieces may reflect the historical context of the show, or they may symbolise a character’s circumstance. All of these pieces work together to achieve an unspoken exposition.
I start with the script and I research the hell out of it. I have conversations with the director to discuss their vision and mine. I read the script from the audience’s perspective and find ways to create a visual experience for the public. I’ll then sketch out some initial ideas and eventually draft ground plans and elevations for every scenic element using a CAD program. These drawings are then passed on to the team that builds these pieces and bring these ideas to life.
As a scenic designer, I work with different teams and individuals on every project. It takes a village to put on a show and collaboration plays a large part in a successful production. The process requires a level of independent work while collaborating as a team to bring the vision to life. I’ve been fortunate enough to have been surrounded by many supportive artists over the years. Working in the theatre has taught me the art of collaboration and how magic happens when there’s trust and respect.
My main motivation is the ability to create meaningful and moving experiences for the audience through visual communication and design. At the centre of my design work is the shared human experience – that’s what theatre is about. When I approach a new project, I always consider the role mood and ambience play in the backdrop of a story. There’s unspoken communication that our audience experiences and I hope my role enhances it in a meaningful way.”
How do you think about luck?
What role has luck (good luck or bad luck) played in your life and business?
“Luck has placed me in many opportunities that allowed me to connect with like-minded artists and creatives in this field and adjacent fields. In my opinion, luck plays into 50% of an opportunity, and success comes with the ability to recognise the opportunity when it does present itself and to seize it, quickly and decisively.”
Contact Info:
- Website: https://janicechan.design
- Instagram: ninetiestragedy
