THE

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

CONTENTS
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
If you would like to learn more about our
education programmes please contact
education@oldvictheatre.com

1
INTRODUCTION When I left university, I knew that I wanted to
be a director but I had no idea how, or where,
During this time I had the good fortune to
meet Marianne Elliott who kindly had a cup

BY KATY RUDD
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
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
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?
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: MANUEL 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
DIRECTING?
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?

PHOTO: MANUEL HARLAN

WHAT IS

2. What are your strengths?

3. What kind of art excites you?

TASK: THREE PIECES

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: MANUEL HARLAN

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
PROFILE:

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
ARTIST

ASHEN
GUPTA

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
a mindset that no matter what part-time job

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: MANUEL 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
REHEARSALS the bigger picture and
ensure everything
strings together.
is useful:

‘ [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.
— E verything 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
PRE–

— W hat 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.

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

BAMGBOYE
observer director at the Royal Exchange.
After university I applied for a course called These things helped my application and
EBENEZER
‘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.
PROFILE:

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

PHOTO: JOANNA HIGSON

YOU’VE WORKED AS AN an associate. Getting your first is probably the
ARTIST

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
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
bit like a ladder. No one has assisted before inspire passion within you.

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!  o reiterate, make a lot of work at university
T
(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: MANUEL 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
REHEAR SAL
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?

— O nly 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
ROOM

— 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

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.  ummarise in one sentence: ‘I want to…’
S 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.  o the scene but replace the text with
D 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.  iscuss what tactics were used?
D
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.

PHOTO: MANUEL HARLAN

Allow for the play and the actors to grow.
It takes a lot of trust as a director.

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
PROFILE:

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
LINNEN

PHOTO: MANUEL HARLAN

group and realised I was way more at home result will feel dull and lifeless. You’ve got to
ARTIST

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.
Shakespeare to new writing and a production
of Oliver! that was rehearsed, choreographed HOW DO YOU MANAGE
SEAN

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.
Copenhagen by Michael Frayn in 2012.

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.
HOW TO BE

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.

PHOTO: MANUEL HARLAN

A LEADER

Print some/all images and stick them on the

rehearsal wall for reference. Also useful for
actors to begin picturing the world they are
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.

PHOTO: MANUEL HARLAN

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
DIRECTING

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

PHOTO: MANUEL HARLAN

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 —
TOP TIPS

And then keep doing it’ the simplest thing in the

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,

PHOTO: MANUEL HARLAN

details, impressions start
to just arrive and that’s
where you get a vision
for a production’
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

& LISTENING
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
WATCHING
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
READING,

a person that is essential about story structure and

FURTHER

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

32 33
 ASSISTANT COMMERCIAL MISE EN SCENE REHEARSAL SUBSIDISED
DIRECTOR THEATRE A French term used to describe The process of creating a THEATRE
Assistant directors assist Commercial theatre shows all the visual aspects on the performance with a cast of Subsidised theatres and
the director in delivering their aim to turn a profit for their stage, such as the set design. performers. Rehearsals offer theatre companies receive
creative vision for a production. investors. These productions an opportunity to experiment, funding from the government
This role can vary massively usually have high budgets. practice and refine a piece of through the Arts Council or
depending on the director. Examples of commercial MOOD BOARD work before it is performed receive funding from Trusts
Possible responsibilities productions would be shows An arrangement of images, in front of an audience. and Foundations who want to
include research, reading in appearing on the West End. colours, textures and so on support the arts. This funding
for actors, creating rehearsal that are put together to evoke allows for new ideas, new
schedules and running warm a certain mood or theme. RESEARCH AND writing and experimentation
ups. An assistant director also CREATIVES Directors and designers will DEVELOPMENT as the artists have a financial
acts as an extra pair of eyes A team of theatre artists who often start with a mood board (R&D) safety net to fall back on
in the rehearsal room. It is work together to put on a when discussing design ideas An opportunity to test out without having to rely on
GLOSSARY

an opportunity to observe a production, such as a designer, for a production. ideas for a potential future ticket sales. Successful
director and learn from them. lighting designer, sound production but without the performances may be
OF TERMS

designer, costume designer, pressure of a final performance. transferred to a commercial

composer and so on. NOTES R&D offers artists the chance venue.
ASSOCIATE The director will give notes to experiment and play with
DIRECTOR to performers after a run of ideas before taking them
Associate directors assist DIDACTIC a performance or during the into a full production. This SUBTEXT
the director in delivering their A form of art made to entertain preview period of the show can also be a way to attract The thoughts and motives
creative vision for a production. and to instruct it’s audience. to help them refine their venues and funders to help of characters that are not
This role can vary massively An example of this would be performance. The director develop work further. explicitly said out loud.
depending on the director. the work of theatre practitioner will also share notes with the
Whilst an assistant director will Bertolt Brecht. creative team to help refine
often support with rehearsal the overall production. RESIDENT TABLE-READ
admin an associate director DIRECTOR Usually the first time all the
is more likely to offer artistic FOURTH WALL A resident director is actors and creative team read
support. Possible Actors often do not OUTSIDE EYE responsible for maintaining the script aloud together.
responsibilities include acknowledge the audience A person who comes in during the artistic integrity of a
implementing notes from when they perform. Breaking the rehearsal process to give performance once the
the director or acting as the fourth wall is when actors a fresh/new perspective. director has left. They are WARM UP
a sounding board for the address the audience. usually employed on long Warm ups help the actors to
directors ideas. running shows to make sure get focused. The director or
PACE that the cast continue to assistant director will lead
FRINGE THEATRE The speed actors perform at — deliver the director’s original some games and exercises
BEAT Fringe theatre provides this can also relate to energy vision. Responsibilities at the beginning of every
A deliberate pause for effect a space to try new and levels in the room. include watching and noting rehearsal.
in speech that changes the experimental forms of work, performances and rehearsing
rhythm. or for artists who are starting new cast members or
out in their careers to make READING IN understudies.
work. Typically fringe theatre When an actor isn’t available
CASTING productions have smaller for a rehearsal an assistant
The process where a director budgets than subsidised director may be required to
and members of the creative or commercial work. stand in for that performer and
team will choose actors who read their lines for the benefit
are auditioning for a part. of the other performers.

34 35
 Donmar King’s Head The Old Vic, Scottish Theatre —
Warehouse, Theatre, London — London — Assistant Director
London — Trainee Resident The Old Vic 12 Bursary
Work Experience Directors
and Training oldvictheatre.com/join-in/ scottishtheatre.org/
kingsheadtheatre.com/ for-creatives training-development/
donmarwarehouse.com/ get-involved/trainee- bursaries/assistant-
about/vacancies/work- resident-directors The Old Vic 12 aims to nurture director-bursary
experience-training/ and develop the next
Interested in taking directing This scheme takes on two early generation of theatre The bursary aims to nurture
further? Whether it’s training, Each year one Resident career directors as trainees practitioners through offering the professional development
competitions or online Assistant Director is offered for a part-time, 12 month access and insights into of individual artists by
resources, we’ve got you a 12 month position to work residency. The programme theatre-making, mentoring supporting an attachment
covered. The following on every Donmar production. offers the opportunity to work from industry experts, delivering to an established theatre
opportunities are completely across in-house and visiting masterclasses to other company.
free. This is not an exhaustive Everyman productions and take part in emerging artists, and
list but a good place to start. Playhouse, workshops led by industry collaborating with each other Young Vic,
Talk to your local theatre to Liverpool professionals. to create brand new work. London —
see what opportunities they Each year the project works Directors
offer for directors. everymanplayhouse.com/ StoneCrabs, with three directors and offers Programme
yep-directors London — the opportunity to develop a
Young Directors new play over the course of directorsprogram.
TRAINING This opportunity is open to Training the project with support from youngvic.org/
18–25 years old. Direct your Programme the theatre.
Almeida Theatre, own play in the theatre’s studio The Young Vic Directors
London — space and discover a range of stonecrabs.co.uk/young- Regional Theatre Program offers networking,
Resident directorial skills such as script directors-training- Young Director workshops and events for
Directors interrogation, rehearsal programme/ Scheme emerging theatre directors.
technique and technical
STEPS

almeida.co.uk/ rehearsals in weekly sessions StoneCrabs is a director-led rtyds.co.uk

resident-directors led by experienced theatre company: its interest in
practitioners. nurturing new directors from The scheme offers Introduction
NEXT

The Almeida Theatre offers all sectors of the community to Director courses, paid
ten early stage directors the fuels this programme. Each 3 month placements and
opportunity to work across year a small number of young 18 month residencies for
the theatres entire artistic directors go through training directors at the start of their
programme, learn new skills programme centred around career. They are particularly
and broaden their networks. production, project interested in working with
management and theatre early career directors from
directing. It introduces artistic backgrounds currently under-
and practical management represented in theatre.
tools for the director and
encourages an individual
approach, utilizing the
director’s own vision.

36 Website links correct at time of publication 37

 Sir Peter Hall The LET
COMPETITIONS Director Award Greenwich Award USEFUL
Scheme RESOURCES
Charlie Hartill lesenfantsterribles.co.uk/
Special Reserve rtst.org.uk/directoraward/ awards-2/ MAKE

pleasance.co.uk/ An annual award that offers an This award offers two emerging talawamake.com
charliefund up-and-coming director to theatre companies a slot at
direct a fully funded production an Edinburgh Fringe venue, An online networking site
The Charlie Hartill Special of a play as part of a main £1,000 investment in the for Black artists in the UK to
Reserve is a designated fund season of productions at a production and mentoring. network, spark collaborations
to support emerging theatre British regional theatre. and learn new skills within the
makers and comedians in The Oxford theatre industry. The site was
bringing their work to the The Common Samuel Beckett created by Talawa Theatre
Edinburgh Festival Fringe. Award Theatre Trust Company.
Award
Edinburgh commontheatre.co.uk/ Masterclass,
Untapped thecommonaward barbican.org.uk/our-story/ Theatre Royal
our-programme/theatre- Haymarket
newdiorama.com/for- An award aimed at a working dance/the-oxford-samuel- London
everybody/edinburgh- class artist or theatre company beckett-theatre-trust-award
untapped-award offering a guaranteed masterclass.org.uk
performance slot at an This award is for a company or
This scheme supports Edinburgh Fringe venue, up to individual based in the UK or A regular programme of
three early-career, or more £2,000 of investment in the Ireland to create a show either workshops with industry
established mid-career, production and mentoring. for the Barbican’s studio professionals, opportunities to
theatre companies take theatre or a site-responsive develop your creative practice
a piece of work to the The JMK Young show to take place in east and careers advice for 16–30
Edinburgh Fringe. Director Award, London or the City. year olds, all offered for free.
London
NSDF Stage Directors
jmktrust.org/for- UK
nsdf.org.uk applicants/
stagedirectorsuk.com
A week-long festival for young The JMK Award offers one
artists to showcase their work, young director the opportunity An organisation dedicated to
network with industry to direct a full-scale representing the interests of
professionals and take part professional play. The JMK professional theatre directors,
in workshops. Award constitutes an Award campaigning for better rights
of £25,000 plus space at and working conditions.
the Orange Tree Theatre. The
winning director will receive
a fee of £4,000 for their work
as director on the production.

38 Website links correct at time of publication 39

The Old Vic
The Cut, London SE1 8NB
+44 (0) 20 7928 2651
oldvictheatre.com

The Old Vic Theatre Trust 2000 Charity No. 1072590

The Old Vic Endowment Trust Charity No. 1147946
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