Michael is a NIDA trained set and costume designer for theatre, dance, opera and film. He is one of the Mike Walsh Fellows for 2016 and is currently Associate Lecturer of Design at NIDA.
For theatre, Michael’s career highlights include Belvoir’s ANGELS IN AMERICA, A CHRISTMAS CAROL, and THE DARK ROOM - which were all nominated for Best Stage Design at the 2014, 2013 and 2011 Sydney Theatre Awards. His designs for Sport for Jove’s OF MICE AND MEN and Q theatre’s TRUCKSTOP won the 2016 and 2012 independent award. His other highlights include IVANOV and FOOL FOR LOVE for Belvoir; JUMPY for Melbourne Theatre Company/Sydney Theatre Company, AS YOU LIKE IT for Bell Shakespeare and THE ASPIRATIONS OF DAISE MORROW for Brink Productions in South Australia.
Michael was Design Assistant on numerous productions including DOCTOR ZHIVAGO the Musical, THE RING CYCLE and THE MARRIAGE OF FIGARO for Opera Australia; and CALIGULA for the English National Opera.
For film, Michael was both costume and production designer on the Crystal Bear Award winning short films, (Berlin International Film Festival), JULIAN and THE AMBER AMULET. He has worked on other short film projects, including the production design for REASON TO SMILE.
Michael has worked with directors including Kip Williams, Eamon Flack, Marion Potts, Leticia Caceres, Pamela Rabe, Peter Evans, Anne-Louise Sarks, Chris Drummond, Iain Sinclair, Anouk Van Dijk, Roger Hodgman, Sarah Giles and Imara Savage.
Broadsheet interview for The Great Fire: https://www.broadsheet.com.au/sydney/art-and-design/article/michael-hankin-staging-design
Desktop Magazine interview for 247 Days: http://desktopmag.com.au/features/michael-hankin-interview/#.UbIWYBZ-_X4
“The staging designed by Michael Hankin for a vast hall at Carriageworks is dark, sparse, stark and deeply impressive”. – Jason Catlett, Timeout magazine, October, 2012. The Lighthouse, Sydney Chamber Opera
“…fundamental to this exploration is Michael Hankin’s ingenious set design, comprising a vast array of mirrors, fanned out in
a continuous arc across the stage. Angled on multiple planes, each of the 48 panels captures a unique reflection, fragmenting the same moment into multiple realities. As the work progresses, this mirror fan opens, reshapes into pockets of reflection, and folds into sliding transverse panels, used to fan the troubled dancers into tranquillity.” – Eamonn Kelly, The Australian, March 2013. 247 Days, Chunky Move
“Michael Hankin’s design is spare yet visually fascinating with the walls and floor covered with shades-of-beige tiles providing a hard reflective surface for sound and light to skitter off.” – Jason Blake, Sydney Morning Herald, June, 2013. Angels in America, Belvoir.
“…an uncluttered – but striking – set design and staging that gives the words and ideas and overlapping narratives space to
breathe, literally and figuratively – which combined with Kushner’s muscular, finely calibrated script, give rise to a collective reflection and self-realisation that the best theatre strives for.” – Dee Jefferson, Timeout Magazine, June, 2013. Angels in America, Belvoir.
“Michael Hankin’s set is compelling in its simplicity. A stark, white, sunken square, with moulded edges, it becomes a pool, a boxing ring, a dog fight arena.” – Carol Wimmer, stagewhispers.com.au, January, 2013. Rust and Bone, Griffin Theatre.
“The set by Michael Hankin, looking like an emptied concrete pool with its black wall surrounds, works well for the three stories – the whale ‘pool’, the boxing ‘ring’ and the dog ‘fighting pit’. It is beautiful and could move into a Museum of Contemporary Art as an art installation”. – Kevin Jackson, Kevin Jackson’s Theatre Diary, January, 2013. Rust and Bone, Griffin Theatre.
“It’s not often you walk in to a theatre and have an instant reaction to the set – A grey concrete rectangle circumvented with a cold metal bench effortlessly portrayed the scene of both a playground and/or a truck stop.” – Catherine Hollyman whatsonsydney.com, June, 2012. Truckstop, Q Theatre
“The Set Design by Michael Hankin, is both wonderfully practical and metaphoric, a concrete, detailed, weed infested, play area, fenced in, protected, by metallic school outdoor seating.” – Kevin Jackson, Kevin Jackson’s Theatre Diary, June, 2012. Truckstop, Q Theatre
More to come…
Download C.V. here: Michael Hankin C.V. 23.05.2016