The Inside Guide to Directing

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THE INSIDE GUIDE TO DIRECTING Introduction by 02 Katy Rudd What is Directing? 06 Artist profile: 08 Ashen Gupta Pre-Rehearsals 12 Artist Profile: 16 GUIDE Ebenezer Bamgboye

Guide compiled by Euan Borland Rehearsal Room 20 Directing Exercises by Roberta Zuric Photography Credits Artist Profile: 24 Joanna Higson Manuel Harlan Sean Linnen EDUCATION & COMMUNITY How to be a Leader 28 Director of Education & Community Hannah Fosker Education Manager Top Tips for Directing 30 Euan Borland Young Person’s Programme Manager Naomi McKenna Lawson Further Reading, 32 Education & Community Coordinator Kate Lawrence-Lunniss Watching & Listening Education & Community Intern Annys Whyatt Abena Obeng Glossary of Terms 34

With generous thanks to Old Vic staff and associates Next Steps 36

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When I left university, I knew that I wanted to During this time I had the good fortune to be a director but I had no idea how, or where, meet Marianne Elliott who kindly had a cup to start. At university I wrote and directed of tea with me – she gave me some advice plays as part of my course and I was given and told me to go to the regions and learn a good introduction to making theatre. your craft. Then she wished me good luck. In our spare time we put on our own shows rehearsing after hours in whatever space we So I did. I went to Salisbury Playhouse where could commandeer; empty lecture rooms, I spent three glorious months assisting on communal spaces or failing that our bedrooms. main house productions and directing in the The audition process for these student studio. I worked with some inspirational artists productions was basically whoever was the who were determined to deliver first-class least hungover and whoever I could convince productions to their audiences. The theatre to come and join in. University gave me was the heart of the community and it felt vital. invaluable knowledge, great support and When my time at Salisbury was up I came opportunities to work collaboratively with back home to London. Next, I managed to get people who were as passionate about making a job in production — again not exactly where theatre as I was. I was pretty proud of the I wanted to be — but another vital element work we made but this couldn’t be what it in putting on a play. There was a lot to learn. was like in the real world, could it? How do What was the budget for a play? What does you become a director, a proper director? everything cost? How does a director work with a production manager and designer to

RUDD I did some research and found there were prioritise and keep productions in budget? some courses you could do. Perhaps I could What happens when things go wrong? Who do one of these? But coming out of university were the directors and designers pushing with a considerable amount of debt meant this technical boundaries in theatre? Who were wasn’t a realistic option for me. So, I wrote the directors driving technical innovation? lots of letters and finally got a job working for It was another fantastic experience. At the a casting director. My role was mostly doing end of my time in production I knew how administrative work, and that wasn’t exactly to achieve a lot with a little and I felt I had where I wanted to be, but I was working in a better technical understanding of other theatre. This experience also taught me that people’s roles. This still helps me today when casting is an invaluable part of the directing I am managing my creative team, talking with process. I learnt a great deal about the technical crew and going through my budget meticulous work that goes into casting, line by line! I got to know the work of as many actors as I could and I got to go to some plays and And finally... I found my way into more regular musicals for free. I also took the opportunity, assisting work; assisting jobs are very when it arose, to tag along and meet as many competitive and it can feel as though you are

KATY artists and directors as I could. I wanted to lucky to be there — but it is important to know expand my knowledge of what was out there your own value. You bring a lot to the room and

— whose work did I like? What work did I not the role of the assistant director is vital. When like? What sort of director did I want to be? choosing what plays to assist on I decided pretty early on that it either had to be for a Finally, I got my first job as a ‘directing intern’. director who I found inspiring, a play that In practice this meant making a lot of tea but challenged me or a genre that I had never crucially it allowed me to watch what went on worked on. This meant that I continued to inside the rehearsal room. What happened learn and further my skill set. on the first day? What was everyone’s role?

INTRODUCTION BY What was the director’s role in the room?

2 3 I started assisting on the fringe but as time KATY RUDD went by I was offered work on productions at the National Theatre, the West End and Theatre as Director includes: in the regions. I was finally learning how to The Ocean At The End Of be a director. I assisted some of the most The Lane (National Theatre); successful and established directors in the The Almighty Sometimes country and the most valuable thing that (Royal Exchange Manchester) I learnt was: there is not one way to direct. — Stage Debut Award for Every director has a different process and Best Director. their own way of working. And every one of them has come into directing via a different Theatre as Associate Director route. Coming out of the education system, includes: Lungs, The Master it’s natural to look for a clear career pathway Builder (The Old Vic); into directing but in reality there isn’t one; Groundhog Day (The Old Vic/ directing is one of the most open careers you Broadway); Curious Night at can have. You just need to find your own way. the Theatre, Mojo (West End); The Curious Incident of I decided I wanted to take time to watch and the Dog in the Night-Time learn on the job and so for a while I was happy (National Theatre/West End/ to keep working as an assistant director. Broadway/UK tour); This gave me confidence in my own ability. Husbands & Sons, Pinocchio It gave me time to find my voice as a director (National Theatre); Linda and to have the confidence to know that my (Royal Court). ideas and opinions were as valid as the great directors whose work I admired. It demystified Theatre as Assistant Director what the job was and made me realise that includes: The Playboy of the there is no such thing as a ‘proper director’. Western World (The Old Vic); Every director is different. Into the Woods (Regent’s Park Open Air Theatre). I hope this guide will give you some insight into how others direct and into their experiences. Katy is the Baylis Director at Above all, I hope it will give you confidence, The Old Vic and an Associate knowing that your life experience is unique and Artist for Elliot & Harper knowing that you are from a new generation Productions. of directors. You have your own voice and that is your strength. I hope you enjoy navigating this wonderful industry and finding your own way into directing. PHOTO: MANUELPHOTO: HARLAN

4 5 ‘You cannot create results. You can only create conditions in which something might happen’ Anne Bogart, American theatre director and co-founder of SITI Company

WHAT IS DIRECTING? Directing can often be misconstrued as it’s not as visible as acting or design. The process can be much more elusive. But essentially, directing is facilitating a rehearsal space in which ideas are explored and organised into a theatrical experience for an audience.

The old perceptions of a ‘dictatorial’ director are long gone. In truth, there are as many directors as there are individuals. We all come into a creative process with individual references, backgrounds, understandings. And that’s what makes it really exciting.

Things to consider:

1. What sort of director do you want to be?

2. What are your strengths?

3. What kind of art excites you? PHOTO: MANUELPHOTO: HARLAN TASK: THREE PIECES

IS OF ART

List three pieces of art that have impacted you in some way (this can be anything that is made by an artist to communicate something e.g. painting, music video, poem, lyrics, graphic design, theatre, dance, etc.).

Analyse what about it you connected to. PHOTO: MANUELPHOTO: HARLAN WHAT

DIRECTING?

6 7 HOW DID YOU GET INTO WHAT IMPORTANT LESSONS DIRECTING? HAVE YOU LEARNT IN YOUR I started at GCSE level with collaborative CAREER SO FAR? devised projects. I always ended up being I heard an amazing director speak called the person that told people where to go and Rikki Beadle-Blair, and he taught me four I would always end up sorting out the tech incredibly simple life lessons: ‘Be seen, as well. When I did A Level Theatre Studies, be heard, turn up, commit’. And I have just I told my teacher, ‘I’d be interested in doing lived my life and career by that ever since. some directing’, and she suggested that I get involved with the production of my last show I also have cut off times for when I am thinking at school. When I was in year 13, I co-directed about work; I will not reply to emails past a a production of Macbeth and worked with certain time in the evening just because your students that ranged from year 8 to year 12. brain needs that break. I know it is said lots but That was my first directing gig. switching off, taking time out when you can, if you can afford to and if not, on the commute I was so immensely proud of how everything catch up on Netflix — just do something other turned out. Not everything had gone to plan than what you are pressured to do. but that was okay. Younger girls in the school came up to me with a box of chocolates and Believe in yourself. I said this at one of my very a bouquet of flowers and they told me that first interviews: they asked me, ‘where do you

I’d changed their outlook. They were so nice see your career going?’. It was the day after to me and I’d never been prouder in my life. the Olivier Awards and this company had just It made me think that I want to do more of that. won an award, so I just pointed to it on the wall and said ‘I would really like one of those!’. WHAT CHALLENGES HAVE I have that ambition and I want to be an YOU FACED AND HOW DID award-winning director. Who knows how far

YOU OVERCOME THEM? down that line I will be in five years, but I hope The biggest challenge is probably my age. to be a little bit closer than I am already. A lot of people are quite taken aback when I tell them how old I am. I am really young, HOW DO YOU MANAGE TO and I am very self-assured, but it’s definitely MAKE A CAREER AS AN made it a bit more difficult in terms of being ARTIST WORK FINANCIALLY? given meaningful opportunities that can then I am quite lucky that I have started to get more continue into more work. I initially experienced paid directing jobs which has been great, a lot of free opportunities, but it didn’t lead especially as a person of colour. There have to any follow-ups. been a lot more initiatives and schemes in place to give me fairly paid work. Young I decided not to go to uni because I don’t like people get taken advantage of with the being told how to learn — I didn’t want to promise of free work for something to put on be told what to think. I wanted to create their CV — that was something that I was something unique that reflected who I was warned about quite quickly. I have a part-time and what I am interested in. I needed a lot of job; I work front of house at The Old Vic. drive to keep emailing and to keep being like, I have done all sorts of stuff — I used to be ‘no I am not just going to go away, I want to a swimming teacher, I used to be a waitress take that free thing you’ve given me and turn in my local restaurant, I used to work for a that into something meaningful and further retailer. I know that finances can be a burden my career’. and I’m no stranger to the fact that there often isn’t enough money in theatre, but keeping

ARTIST PROFILE: a mindset that no matter what part-time job GUPTA ASHEN

8 9 I have at the moment, as long as I keep ASHEN GUPTA enough money in my pocket to keep my art alive, that has gotten me through long shifts. Ashen is a freelance director I save where I can so I can spend on what and has been working as one actually matters to me. since June 2019.

WHAT ADVICE WOULD YOU They started their professional GIVE TO SOMEONE WHO IS journey as an assistant director INTERESTED IN BECOMING on a one-man play with a A DIRECTOR? three-person team and since If you find yourself doing community or have been working with an ever youth theatre and you’re sitting there increasing number of artists, thinking, ‘I would do this differently’, that from youth ensembles of 15 is a first indication that there is a director to their most recent project within that could be explored. working with a large chorus with the English National Opera If you are not involved in a local theatre, for their revival of Carmen. get involved. If you have got an idea pitch it to a teacher, a friend, a family member, Despite the big projects, anyone. Seek out any space to try that out, they started their love affair even if it’s just three of your mates in a with small ones; theatre in classroom with some tables as props; secondary school where makeshift it, try it out and see what works. they co-directed a student If that feels right, then maybe you can start production of Macbeth on to say, ‘okay let’s do a bit more of that. a budget of zero — proving to Let’s try again’. them that making art doesn’t need endless resources. PHOTO: MANUELPHOTO: HARLAN

10 11 As a director, you have FACTS AND QUESTIONS — to become the biggest KATIE MITCHELL advocate for the play Katie Mitchell OBE is a renowned British and its characters. When theatre director whose work has a deeply the actors are focusing naturalistic approach. Her book on directing, on individual characters, The Director’s Craft, says the following on it is your job to focus on why mining the text for facts and questions the bigger picture and is useful: ensure everything strings together. ‘ [to] build an imaginary world for the actors to inhabit, using ingredients from real life and Here are four exercises you can do when circumstances suggested by the text itself’ working on a piece of text to help you prepare before you begin rehearsals. TASK: LIST OF FACTS AND QUESTIONS READ IT On a large piece of paper, make a list of all Read the text all the way through and jot the facts in the scene down first impressions/thoughts. — Everything that is confirmed in the text. Read it again. You will see/hear new things. No assumptions. Be strict on this. This is about detecting what the text Get some friends to read it out loud. is definitely communicating, and not about interpretation With every reading, it will sink in a bit more, — These facts will help root you and and will give you time to digest the words the actors in the world of the play. properly. Discuss them at the beginning of rehearsing scenes to establish the known factors. It will affect how actors behave in the space

On another sheet of paper, make a list of all the questions in the scene

— What are all the unknowns? Phrase assumptions into questions — Put the questions up on the wall, along with the facts. Some you’ll be able to answer straight away, some will require discussion, some will come to you as you rehearse. There’s no rush to answer these. They’re there to add detail and nuance to the characters and relationships

Stick these sheets to the wall during rehearsals. It’s great for reference. PRE– REHEARSALS

12 13 SHIFTS AND EVENTS STORYBOARD Marking shifts in the text is breaking down the It might also help to storyboard the play out, story into units of events. An event is something like a comic book. This way you can also that occurs, or is said, that changes the mood/ start thinking about lighting and staging. dynamic/energy in some significant way. And remember you don’t have to stick to this as the actors and other creatives will There isn’t necessarily a right answer to this, have ideas to offer, but it’s a helpful backup as long as you reach an agreement with the tool when you’re stuck for ideas in the cast so you all have an understanding of how rehearsal room. Pick six to eight moments the scene is shaped. in the play you want to bring out.

Once the shifts are agreed on, give the Remember, all four of these exercises can unit of text a title. It can be something fun be repeated with the actors as well (if you and memorable, or something simple and have the time at the start of your rehearsal descriptive. period). Allow them to come up with their own questions and shifts and compare them with your choices. Some might be stronger; some might be the same as yours… as long as the final choices make sense with the text and your overall vision.

You don’t have to have all the answers at the start of rehearsals. You’re working with people who are also creatives (actors, designers, etc) and they will have lots of great ideas. Listen to them, absorb — your pool of choices will become much bigger and richer.

14 15 HOW DID YOU GET they’ve assisted, but often people want INTO DIRECTING? someone who has done it before. It can At university. I went to St Andrews to study feel a little like a Catch 22. Theology. There was a thriving, student-led theatre community with lots of funding to With my first job as an assistant director make work. We were spoilt there as it is not (at Sheffield) there was an open call out and so easy to get work on in London! In my final I submitted an application. Although I hadn’t year a piece fell in my lap to direct — it was done the job before, what I did have was: the a multidisciplinary piece of new writing that aforementioned credit as training on ITD at was partly devised that explored the factors the Young Vic; I had worked as an assistant that led to the 2011 London riots. I enjoyed facilitator for the National Youth Theatre and the experience so much I wanted more! I had been attached to a production as an

observer director at the Royal Exchange. After university I applied for a course called These things helped my application and ‘Introduction to Directing’ at the Young Vic were easier to come by than an assistant and was fortunate enough to receive a place. director job. My advice would be to look out for The course consisted of a week of workshops/ these often unpaid, lower profile entry-level lectures by Matthew Xia and then nine months opportunities. Perhaps even an unpaid fringe of monthly sessions culminating in the assistant director job. When you then come opportunity to direct a short scene in the to apply for something in a building it will

Young Vic’s Clare Studio. This was an make your application a lot more competitive. amazing opportunity both in terms of the learning and also the leverage it provided Having done this job I could then apply for to go and get more opportunities and be slightly bigger jobs then slighter bigger ones on my way as a director. after that. Before I knew it, I was working at places like The Old Vic and for Headlong as YOU’VE WORKED AS AN an associate. Getting your first is probably the ASSISTANT OR RESIDENT biggest hurdle. The industry is always looking DIRECTOR AT VENUES out for good assistant directors and if you have SUCH AS THE ALMEIDA, done one you have proven yourself. The only

PHOTO: JOANNA HIGSON JOANNA PHOTO: THE OLD VIC, STRATFORD thing left to then do is have the confidence to EAST AND SHEFFIELD continue levelling up and then know when to THEATRES. HOW DID stop altogether. Never forget that the purpose YOU COME BY THOSE of assisting is not to establish a career as an OPPORTUNITIES AND assistant but as a step ladder into being a WHAT DID YOU LEARN director. Never lose sight of this. BY DOING THEM? Working as an assistant/associate director HOW DID YOU FIND YOUR is a fantastic way of learning about the VOICE AS A DIRECTOR? process of making large-scale shows (which Through reading plays and watching theatre! you are unlikely to have the opportunity At university I read lots, and found I was to do at the early stage of your journey), developing a passion for 20th century and building relationships with venues. American works. You’ll know if you’re a Building relationships is essential because director if you read plays and your mind begins alongside your talent, this is what will lead to build/envision something with the words. to opportunities in the long run. That being said your mind will not do this with every play you read. Which plays does it do In terms of how I came by them? It’s a little this with? Maybe think about which plays

ARTIST PROFILE: bit like a ladder. No one has assisted before inspire passion within you. EBENEZER BAMGBOYE

16 17 Is there a thread that runs throughout these YOU WERE APPOINTED TO EBENEZER plays? For instance, do they tend to be THE ARTISTIC DIRECTORS BAMGBOYE classics? Or new writing? Or domestic? OF THE FUTURE INITIATIVE Or formally experimental? If you do find such WHICH AIMS TO DIVERSIFY Ebenezer trained at a thread this might be your preference. Also, THEATRE BOARDROOMS. the Young Vic on their are there commonalities between the visions WHY DO YOU THINK Introduction to Directing that your mind builds when you are reading INITIATIVES LIKE THIS and Springboard courses. plays? When you go to the theatre are there ARE IMPORTANT? details and aesthetic styles that attract you These are very important. Theatre is doing He has worked as an assistant/ more than others? For instance, minimalism? well right now to ensure that the demography resident director in venues such Detailed naturalistic sets? Naturalistic acting? of those working in its ranks reflects the as the Almeida, The Old Vic, Non-naturalistic acting? If so, perhaps you demography of London. Initiatives such as Stratford East and Sheffield have found yet another aspect of your style/ this help it to achieve that goal. Theatres under practitioners taste. Also, what do you think? What are your including Matthew Xia, opinions of the world and reality? Of what WHAT ADVICE WOULD Rebecca Frecknall and is going on socially and politically? Theatre YOU GIVE TO SOMEONE John Crowley, and has is about engaging with the people in society WHO IS INTERESTED IN directed pieces at venues in a provocative way. What do you want to BECOMING A DIRECTOR? including CPT, Theatre 503, provoke people to think differently about? Do it. We need you. Battersea Arts Centre and Omnibus Theatre. HOW DO YOU MANAGE See a lot of theatre. Don’t live in London? TO MAKE A CAREER Get the train! (as well as seeing local theatre). AS AN ARTIST WORK FINANCIALLY? Read plays. One a week. Pick up plays you Keep your costs low, particularly at the early know nothing about. Charity shops have stages. Try and find somewhere with cheap loads of them cheap. rent! The lower your costs the less you will need to do other things to fund your life Get directing. See if you can make something at (as many have to do at the early stages of school (I wish I had done this) or at university their careers). If you have family in London (I wish I had done more of this). stay with them (don’t be proud), if not, that’s okay (I don’t), you will make it work! To reiterate, make a lot of work at university (if you go). It is a great, low stakes, well-funded I have been fortunate enough to do some environment to try things out. Don’t, however, well-paid assistant/associate roles. These put too much pressure on the work you make cover my costs and in between them I have here. You probably aren’t going to start your used the financial subsidy to fund myself in career with a university show, nor should you creating my own work which might be low worry about doing so. Use it for you. paid or free. This is one way! I also have a degree so if it comes to it, I can get into tutoring. Fortunately, I haven’t had to do that yet. PHOTO: MANUELPHOTO: HARLAN

18 19 As the director your job READ THE SCENE is to facilitate a rehearsal It’s always good to hear it out loud with space in which your cast the voices of the actors and it’s a good and creative team feel way for everyone to begin, quite literally, supported to try out ideas. on the same page.

Here are a few ideas and exercises to help GIVEN CIRCUMSTANCES you structure your rehearsal process. Before starting to rehearse any scene, answer the following questions with your cast: WARM UP GAMES Warm up games are useful to get the actors Who — Who are they? What is their focused, warmed up and working together. relationship? When did they last see each Make sure your games serve a purpose other? A brother and sister will interact (especially if that purpose is to have fun) differently to strangers who are meeting and don’t just become a way to put off doing for the first time the actual work on the play (very tempting!). When — When is this happening? The time For example: ‘Count to 20’, or a ball game of the day, the time of year affects people such as ‘Keepy Uppy’, can be used to focus differently. Think about how you are at and energise the group respectively. 7am vs. 7pm

Count to 20 Where — Where are they? Whose space is Stand in a circle and try to count to 20 it? How do they feel about it? Are they inside/ as a group outside? How big is it? What do they see?

— Only one person is allowed to say What — What are they doing? Why do they a number at a time need to do that? — If two people say the same number at the same time the group must Why — Why are they behaving/responding start again in this way? Why are they in that place at that — A player cannot say two numbers time with that person? Is it their choice? in succession, they must wait until What has happened in their past to get them someone else has spoken before to this point? This might take longer to figure speaking again out. The different answers to this will create — Try getting the group to close their different responses from the actor to how eyes to aid concentration they use the space and their body in the space they’re in Play with speed, accuracy, volume. You can also add your own variations/additions/words Answering these questions will allow the actors to root their characters in a place and Keepy Uppy time, and react to the context they are living in, Keep the ball in the air as a company bringing a truthfulness to their performance. and counting together

— No double taps — No apologies if the ball falls. Just pick it up and start again REHEAR SAL ROOM

20 21 BLOCKING ADVANCE AND RETREAT Blocking means moving on stage with Wants dictate a character’s behaviour. It purpose. It’s really important, to achieve flow focuses the actor and relies on engagement and truthfulness in a scene, that the actors with the situation. Discuss what the character understand why they’re moving somewhere. wants from the other person in the scene. Forced blocking looks and feels unnatural. 1. Move toward another person Give actors ownership of their decisions — you’re the outside eye that makes sure it all 2. Move away from another person makes sense for the audience. Encourage discussion with your actors. They have amazing 3. Remain still/sidestep (this must be instincts and will let you know when something an active choice) feels right (or wrong) for their character. Finding the right choices for the production You will quickly notice how the scene pushes together will make for much more fluid and and pulls. Discuss any moments that worked interesting staging. well and you would keep.

INTENTION AND WANT AUDIENCE Wants dictate a character’s behaviour. It focuses Theatre needs an audience. Remember who the actor and relies on engagement with the you’re making it for. Here are some useful situation. Discuss what the character wants questions to ask yourself. from the other person in the scene. 1. What are the playwright’s intentions? 1. Summarise in one sentence: ‘I want to…’ Why did they write the play? (e.g. I want you to look at me; I want to punch you) 2. What do you want to draw out of the play for the audience? What themes? 2. Do the scene but replace the text with What images? the ‘I want’ sentence. Again, let actor’s instincts lead them in blocking. What 3. What feeling do you want them to leave does this do to how they use the space? with? The audience is a great point of What could you keep? focus to keep coming back to when making choices about a scene 3. Discuss what tactics were used? Can any be kept? 4. How do you want them to feel about individual characters and relationships? Now go back to the written text and layer with the decisions made from this exercise. Remember rehearsals are a process. The Ask actors how they feel and what works beauty of theatre is that it’s a living, growing for them — their investment is crucial. process that keeps evolving in rehearsals, through tech, through the performances. All the way until closing night. The liveness of the experience will make it a slightly different show every night, just by the energy of the audience on a particular night. Embrace this. Allow for the play and the actors to grow. It takes a lot of trust as a director. PHOTO: MANUELPHOTO: HARLAN

22 23 HOW WOULD YOU DESCRIBE HOW DID YOU FIND YOUR WHAT A DIRECTOR DOES? VOICE AS A DIRECTOR? A director is often (but not always) the lead I think it takes time. I’m still finding my ‘voice’ creative on a production. They bring together so to speak, but I’m definitely clearer on the a team of creatives to help create a vision for stories I want to tell now. At university I was the play and build the world for the show really into Shakespeare — I thought that was to live in — what the set and costumes will all I’d ever do. Since leaving, I haven’t touched look and feel like, what it will sound like, it once and have mainly done new plays, the movement/choreography, as well as which I’ve really fallen in love with. Working working with a casting director to assemble with writers has been some of the most a company of actors. During rehearsals they fun I’ve had in a rehearsal process and the work with the acting company, design team most creatively nourishing — there’s always and stage management to interpret and something magic about bringing something unravel the script as well as concentrating brand new into the world together. on building the physical and emotional life of the play. Why are we telling this story now? I also realised the kinds of stories I wanted Why are these characters saying and doing to tell are often about family, working-class what they do? How do we tell this story on communities and queer lives. Plays with big stage in the most exciting and engaging way hearts that are quietly but deeply political. possible for an audience? Plays that scoop you up in their arms and

welcome you in. Plays that experiment with HOW DID YOU GET INTO form and don’t take themselves too seriously. DIRECTING? These are the plays that get my brain sparking I went to university in Sheffield and while I was and my heart racing. There’s no point in there, I thought I’d have a go at directing. I did creating work that you’re not fully invested in a couple of shows with the university drama — it will be an arduous process and the final group and realised I was way more at home result will feel dull and lifeless. You’ve got to off stage than on. I then tried to direct as many want to pour your whole self into a project — shows as possible while I was there to see I love the kick I get from working on a play what I liked — from Mark Ravenhill to that I really love and believe in.

PHOTO: MANUELPHOTO: HARLAN Shakespeare to new writing and a production of Oliver! that was rehearsed, choreographed HOW DO YOU MANAGE and produced in 24 hours… It gave me a A ROOM OF CAST AND proper crash course in putting lots of different CREATIVES? shows on with no budget and limited resources. It varies between each project, but the roots Whilst I was at uni I got a job as an usher at of my practice come from kindness. I think Sheffield Theatres which meant I saw every everyone’s best work is done when the room show that came into those theatres over the is a warm, positive, safe atmosphere where course of three years — it was an amazing the whole team feels free to play around and opportunity to learn how different shows try things without pressure to get things worked as well as honing my taste. I tried to right immediately. Creating is a process — get involved with as much stuff going on at we don’t have all the answers on day one. the theatre whilst there — education work, It’s okay to not know something. It’s okay to the community company, auditioning local ask questions. It’s okay to fail. In fact, failing actors, and then six months after I left they is 100% encouraged. If you’re in a rehearsal needed an assistant director for a show room where everyone treats each other with and I was on their radar so that was my first kindness and openness, I promise you’ll professional gig — Assistant Director on definitely get everyone’s best work.

ARTIST PROFILE: Copenhagen by Michael Frayn in 2012. SEAN LINNEN

24 25 WHAT CHALLENGES HAVE doing one thing — i.e. directing. I took the tactic coming through and one that is properly SEAN LINNEN YOU FACED IN YOUR of trying to find work in the industry but that representative of the country we live in. CAREER AND HOW DID wasn’t necessarily directing so that I was Theatre as Director includes: YOU OVERCOME THEM? around theatre, and learning from artists and WHAT ADVICE WOULD YOU Tartuffe, Mojo, Machinal I’m from a working-class background and so producers all the time, although not directly GIVE TO SOMEONE WHO IS (Royal Welsh College of the theatre industry felt quite alien to me when creating the art. I’ve worked as an administrator INTERESTED IN BECOMING Music and Drama); Love and I started out. I went to university and did English for a theatre company (Paines Plough), A DIRECTOR? Information, Her Naked Skin and drama but when I left, I couldn’t afford to a production assistant here at The Old Vic and Read and watch as many plays as you can. (Guilford School of Acting); do a Masters in Directing so I’ve largely learnt a casting assistant for the National Theatre over Listen to music. Watch films. Watch reality TV. The Distance (Nottingham on the job which has actually been a really the years. All wildly different experiences, all Go to exhibitions. Read books of all kinds Playhouse/The Yard); 322 Days, wonderful experience. It’s meant that I poured have taught me things about the industry, all regardless of genre. Go and watch sport. Growth (Paines Plough); a lot of time into assisting and associate have fed into my creative practice as a director Go to gigs. Sit in a park and people watch. Hollow (Bike Shed Theatre). directing (4000 Miles is the 20th production and most importantly, all have paid my rent. I’ve assisted or associated on) — this has meant Of course, lots of these cost money but you Theatre as Assistant Director I’ve been able to pay the bills, learn from some YOU HAVE WORKED can get free trials on online subscriptions for includes: Future Conditional of the most senior directors in the country and AS A SELECTOR FOR BFI/Netflix, etc., join your local library, there’s (The Old Vic); Protest Song work with some of the world’s best actors and THE NATIONAL STUDENT often Pay What You Can shows in theatres (National Theatre); Young creatives. There isn’t one set path to becoming DRAMA FESTIVAL AND AS across the country or specific deals for under Marx, Allelujah!, Two Ladies a director or actor or writer — every journey A TUTOR FOR THE CHARITY 25/under 30 year olds and if you live in London, (Bridge Theatre); Translations, in this industry is different and each is as OPEN DOOR. WHY DO YOU every film at Peckhamplex in Peckham is £4.99 A Taste Of Honey, The Daughter valid as anyone else’s. THINK IT’S IMPORTANT TO every time of the day or night. Revolutionary. -in-Law (Sheffield Theatres). ENGAGE YOUNG PEOPLE Also, just to add, I’m almost eight years into IN THEATRE MAKING? Challenge yourself by taking a punt on things Theatre as Associate this career now and am still learning words Working for Open Door and NSDF are two of you don’t think you’d like because often, even Director includes: The Divide, and concepts that some of my peers might’ve my most favourite jobs and I feel so lucky to be if you really hated it, you’ll be able to take The Caretaker (The Old Vic); come across in their teens or in their training. a part of them. I think theatre can sometimes something from it. The Vote (Nimax/ Donmar I used to apologise for it or sit in mortified have this reputation for being a bit dusty, a bit Warehouse); Lungs, The Initiate silence pretending I knew what was going dull, a bit of a closed shop and, of course, it can Also, daydream. It’s completely valid to spend (Paines Plough). on, but now I just ask and it’s very rare than absolutely be all those things but actually, hours thinking up ideas and casting your dream anyone bats an eyelid. We’re all learning all there’s so much brilliant, thrilling, exciting work actors in them. And so useful for working out He was previously Trainee the time and that’s okay. happening and these two organisations are what kind of stuff you like. Some of my best Artistic Director at Sheffield genuinely pouring time, energy and cash into ideas come when I just put everything down Theatres and Paines Plough, WHEN YOU WERE STARTING cracking open the industry for young people, and let my brain run away with itself. and Resident Assistant Director OUT HOW DID YOU MANAGE particularly young people from lower socio- at the Donmar Warehouse. TO MAKE A CAREER AS AN economic backgrounds. I would join the Young Vic directors’ network ARTIST WORK FINANCIALLY? — it’s an essential resource for all directors. Honestly, I didn’t. I graduated university during I genuinely believe theatre can transform lives Look up SDUK — Stage Director’s UK which the recession just as the coalition government and change the way people think about the is an industry union (along with Equity) which cuts to the arts were landing. The industry was world. With arts provision in schools being is really useful. Read reviews and articles — on its knees and the first thing to go was the drastically reduced, organisations like these A Younger Theatre and Exeunt. support for emerging artists, so paid jobs were which can offer support and opportunity to few and far between and it was hard going young people and welcome them into the And write to people who you’d like to work with. for a long time. Luckily, over the past decade industry and say ‘You can do this. You 100% Tweet them. Email them. Ask them if they would the whole industry has realised that those belong in these spaces and we’ve got your go for a cup of tea to chat about their work — programmes should be cherished and are back’ is so important. Regardless of your the worst thing they can say is no but more needed now more than ever. I’m still figuring background, we all need to be nurtured as often than not they’ll say yes. out how to make it all work financially, but what artists — NSDF and Open Door do that in I would say is that no one (or very, very few a really tangible way that also ensures the people) manage to make it work solely from industry has a new generation of artists

26 27 Directing is mostly a managerial role. It is not solely down to you to come up with the solutions. Use the creativity/ideas in the room. Here are some top tips for making the most of your relationship with your collaborators.

Be open and collaborative with your creative team.

Share ideas with your set and costume designer, lighting designer, sound designer… or whoever is on your team helping bring the show to life.

Set up a mood board to which you can all contribute to. This will ensure that everyone is on the same page about the feel and tone of the production.

Print some/all images and stick them on the rehearsal wall for reference. Also useful for

actors to begin picturing the world they are MANUELPHOTO: HARLAN inhabiting as characters.

Behave the way you want others to behave. As the team leader, you set the expectations of work you wish to have in the rehearsal room.

Have fun! And enjoy the fact that there will never be another production of the play like yours because creativity is unique. There are as many directors as there are individuals. LEADER PHOTO: MANUELPHOTO: HARLAN BE BE TO HOW A

28 29 Many of the top directors working in the UK ‘Go and see as much as today have worked at The Old Vic. We asked you can but then do the some of them for their top tips in pursuing extra bit no-one tells you a career in directing. about which is reflect on why it is that you did or ‘It’s important for you to did not enjoy something. decide how you want to As a theatre director you tell the story, and what need to have an idea of language is best, whether what you want to do in it’s physical theatre, the future. Increasingly, music, storytelling etc’ I’m being asked what Miranda Cromwell work I want to make and it’s only through asking

‘ The important thing is myself those questions doing it. Keep writing that I’m taking steps to people and meeting forwards’ people. Get involved in Mark Maughan any way you can. Get together with friends ‘Don’t be daunted! and make work. It doesn’t Essentially all we’re matter where. Just do it. doing is telling a story — And then keep doing it’ the simplest thing in the PHOTO: MANUELPHOTO: HARLAN Stewart Laing world. If you keep asking questions and telling the ‘ Well first you have to teach story, answers and ideas yourself how to direct. And will follow. Promise. Hold there is only one way to do your nerve, be instinctive, that — which is to just go be truthful and be brave. ahead and direct lots. Don’t Sometimes it really is be afraid; gather your friends that simple’ and just perform anywhere. Emma Rice In a school hall, or a town square or a barn or your ‘First get to know the story front room’ very well and then create Max Webster an emptiness in your head. Try to create a period of sustained emptiness for a few days so it’s just you and the story — the story in its script form and the story in the dream-like form that’s in your head — and you try and create enough emptiness so, slowly, ideas, moments, details, impressions start to just arrive and that’s where you get a vision for a production’ PHOTO: MANUELPHOTO: HARLAN DIRECTING TIPS TOP Matthew Warchus

30 31 If you want to find The Director’s Craft out more about by Katie Mitchell THINGS TO WATCH THINGS TO directing check LISTEN TO out the following ‘This book is a brilliant step- The Old Vic’s recommendations. by-step guide into a director’s Education Hub The Royal Court process. It has useful exercises Playwright’s Podcast all thoughtfully explained with oldvictheatre.com/join-in/ THINGS TO READ examples of how to use them education-hub royalcourttheatre.com/ in a rehearsal room. It’s the podcasts/ ‘Read what you love because book I go back to the most ‘Take a look at The Old Vic’s I tried reading directing books every rehearsal process’ Education Hub which contains ‘ A really wonderful insight into and they were boring! I tend Ebenezer Bamgboye, Director some brilliant video interviews the brains of our best living to read, watch and listen to with directors who have made playwrights and their work, things that inspire me creatively, Into the Woods work for our main stage. They their process and how they I think of them as seeds of by John Yorke offer a great insight into each got to where they are now’

which something can grow. director’s unique process’ Ebenezer Bamgboye, Director In terms of essentials it’s ‘ A book about writing. As a Euan Borland,

whatever interests you as director, you need to know Education Manager The Two Shot Podcast

a person that is essential about story structure and to your art’ dramaturgy. It is not only your twoshotpod.podbean.com Ashen Gupta, Director responsibility to direct the play, but if there are aspects ‘Each week Craig Parkinson The Empty Space of the text that don’t quite chats to a creative person by Peter Brook work you need to be able to (often an actor but also writers diagnose why and help find and musicians) and has an ‘ An essential read. Take your solutions/hold discussions honest discussion about what time with it as it is a little with the writer. This book will makes them tick — a really dense and complicated at give you a great understanding open and often very funny times. Read it twice if you of story structure/what plays insight into the brain of need to but it is worth it and need to work’ an artist’ will stay with you forever. Sean Linnen, Director Ebenezer Bamgboye, Director Here, Peter dissects what theatre is, in its essence, Actions: The Actor’s in a philosophical almost Thesaurus spiritual sense. He examines the nature of each role in ‘ Again, another super useful theatre (actor, writer, director book for finding exactly the audience) which really helps right word for what you mean you frame your role as in rehearsals’ a director’ Ebenezer Bamgboye, Director Sean Linnen, Director LISTENING