Great Concordian: Christine Jones, Tony Award-winning scenographer

What does it feel like to win Broadway’s biggest prize? Just ask Christine Jones, BFA 90.

“It’s surreal,” says the scenographer and two-time Tony Award winner. “I remember walking around in a daze, pinching myself.

“It was the ultimate confidence builder for someone who grew up without a musical theatre background in Montreal’s West Island.”

Jones was first nominated for Best Scenic Design in a Musical at the 2007 Tonys for Spring Awakening. She earned her first award in the category three years later for her work on American Idiot, based on the Green Day concept album.

When her name was called again in 2018 for Harry Potter and the Cursed Child, it was extra special and emotional.

“I share this award with my mother and my father and my sister and my brother, who was put up for adoption when he was a baby and who we found a year ago,” said Jones in her memorable acceptance speech. “It’s crazy that we’re all here celebrating this together — it’s insane.”

Jones shared yet another Tony nomination for set design in 2024 for The Outsiders, based on the classic S. E. Hinton novel and 1983 film adaptation by Francis Ford Coppola. Her other accolades include a 2015 Obie Award for sustained excellence in set design.

Outside of her work on Broadway, at the Metropolitan Opera and with artists like David Byrne and Radiohead, Jones finds time to teach at her other alma mater, New York University’s Tisch School of the Arts.

The Great Concordian also promotes talented yet underrepresented designers through AMP, a collective she co-founded that amplifies emerging and underrepresented designers.

When you reflect on your time as a Concordia student, what stands out?

Christine Jones: The vibrancy of the studio spaces and working with my fellow classmates. The interactions between the students and the teachers was fluid. You could walk into the prop shop or costume shop and get some extra help or get feedback.

I remember lots of paint and fabric and objects and a feeling that it was an art school. We were being trained to be what I would call a ‘theatre artist.’ It felt like one giant laboratory of theatre making.

What are some of the factors that have enabled your success?

CJ: I can say in full honesty that Concordia was incredibly impactful and meaningful in terms of my artistic life. I went to graduate school at New York University, but I felt like I arrived there with a sense of what it is to be a theatre maker and artist.

Thanks to Concordia, I wasn’t afraid to make bold choices. I was experimenting and thinking about theatre holistically — from lighting and costumes to scenery — and about the dramaturgy as well. I had also had some experience directing as an undergraduate.

I felt like the training that I got set me apart. I believe that Concordia has the best undergraduate theatre department in North America.

What advice do you have for students who may want to follow in your footsteps?

CJ: Fearlessness is important. Even when I came to New York, I felt like I was on a different planet. I was scared and intimidated at first, but eventually found that I was well equipped and trained.

Embrace what it is to be a Montrealer — the vibrancy of the music scene, the art scene, the theatre scene, the dance scene. Montreal is singular. Scoop that all up and bring it with you wherever you go.

Reach out to other Concordia alumni. I participate in the Art Volt program and mentor students from Concordia. Never be afraid to reach out to artists that you admire, whether they went to Concordia or not. Be adventurous.

How does it feel to be a Great Concordian?

CJ: I’m delighted. I carry Concordia and Montreal close to my heart. Sometimes I feel far away living in New York, but this makes me feel like I’m claimed by my city and my alma mater.

I’m proud and grateful to have been selected.