How did you become a director? What training have you done?

I first directed the 15-Minute Hamlet by Tom Stoppard when I was in 6th Form. It was very simple and an excuse to put lots of cheap gags on stage which I really enjoyed.
It was only really in my 2nd year at University that I became seriously interested in directing.

I studied Drama at Liverpool John Moore’s University – the course was great because it covered so many aspects of theatre, both practically and theoretically. I learned about performance and devising in the first year. Then in the 2nd year we covered all the technical aspects of theatre and did some projects in the community. We also explored experimental theatre and led workshops on practitioners or styles of theatre that interested us. At the end of my 2nd year, I devised and directed and community play about the benefits and pitfalls of going into post-GCSE education. This was received really well and I chose to specialise in my 3rd year.

Then after I graduated, I returned back to my hometown in Wales and just started to get involved in theatre down there. I started directing little bits and bobs and then started to get a few assisting jobs, some of which were paid and others of which weren’t. Juggling lots of projects, as well as trying to earn a living, was difficult but it meant that I gained a lot of experience.

For me, I was not really a director until I started saying “I’m a Director” rather than “I want to be a Director”. It sounds simple but it was a difficult barrier to overcome. I was directing productions and still telling people “I want to be a Director” – even though I was directing full-time.

Who has been an inspiration for you?

I really love the work of Robert Wilson, who is regarded as an Avant-Garde Opera Director. His work is so precise, visual and epic, often with lots of different interpretations. I was lucky enough to see The Black Rider a couple of years ago in London and it was so visceral and stunning –definitely the best production I have ever seen.

I’m also really inspired by companies like Improbable and Told by an Idiot. In Liverpool there are quite a few physical theatre companies like Spike Theatre and Rejects Revenge – I really love their work and the inspiration they draw from clowning and circus skills.

In terms of reading, Peter Brook’s The Empty Space and Antonin Artaud’s The Theatre and its Double are books I constantly refer to for inspiration.

I’m always inspired by Directors who can encourage their casts to be confident, experimental and precise. It’s the detail that counts.

I assisted Kate Saxon in Plymouth and it was amazing to work with her on the process she went through with the 2 actors in the show. And of course, Jamie Lloyd (the Director of The Caretaker) is doing an equally inspirational job!

How did you get the job as Assistant Director of The Caretaker?

I work for Sheffield Theatres full-time as the Young Associates Director. I run the Young Associates Network (details on this website!) for young people aged 11 – 26 so I do quite a lot of directing as part of that job. But this has been slightly different from that experience. I think that Karen Simpson and Samuel West felt it would be a good opportunity for me to develop some new skills as well as being able to bring my knowledge of The Crucible to the production.

That’s what’s so great about the Creative Development Programme – even people who work for it can be creatively developed!

What has attracted you to work on Sheffield Theatres’ production of The Caretaker?

I love the play. That was very attractive. I tend to work on new writing as that is where my main interest is; but you cannot think about new writing without thinking about all that Pinter has done for that.  Even though The Caretaker is nearly 50 years old, it still has the power to challenge audiences.

Also the opportunity to work on a play for the unique stage in The Crucible, with such a fantastic cast and exciting creative team was too good to miss out on!

Have you ever worked as an Assistant Director before – what does the job entail and does it differ?

This will be my 6th Assistant Director job and it’s a role I really love. The job does vary depending on your Director from being very hands-on to being the Director’s personal organiser.  With each job I have had different responsibilities – from helping structure the rehearsal calls to actually taking rehearsals.

It’s really important that you find out from your Director what they want from you as an assistant from the outset, but to a certain extent you have to be prepared to do anything that comes up – and that’s what can make it so exciting.

Jamie (The Director of The Caretaker) is a fantastic Director to assist as he has been very clear about what he wants and is very open about the process.

Before rehearsals Jamie asked me to prepare research material for the actors. This essentially meant scouring the text and trying to find anything that may seem a bit unusual or that may need clarification. For The Caretaker some of the things I’ve researched have been on ECT (Electric Shock Treatment) which Aston refers to in his speech at the end of Act 2; the political climate in 1959/1960 and finding out what “afromosia” is.

Since rehearsals have started I have been helping the actors with some of their lines, being an extra pair of eyes in the rehearsal room (particularly useful as the play will be seen from 3 sides) and been available to discuss ideas with Jamie.

What are the advantages and disadvantages of being an Assistant Director?

The advantages to the role far outweigh the disadvantages. It’s fascinating to be part of the process, which is different every time depending on the play, the Director and the cast.

The main advantage is that you get to learn so much about different processes whilst still fulfilling a useful role. You also get to work with a whole new set of people each time. The most inspiring aspect of the job is that you are often able to contribute to a production as an Assistant Director.  I enjoy the supportive element to the job and it teaches you to be really aware of people’s needs when embarking on a rehearsal process.

The only disadvantage is that sometimes you have a different opinion on how things should be done, but that’s all part of being a good assistant – knowing that you are the Assistant, not the Director. And it’s always good to see the different choices that other people make.

Who do you have to work with the most and why?

Obviously you need to have a good relationship with the whole team, but it is absolutely essential to work well with your Director. In many ways, you have to learn to be a bit of a mind reader so that you can anticipate what the Director is thinking. That can take time, but you can reach that stage.

As an Assistant Director, you also work quite closely with the Stage Management team and in many ways you bridge that gap.  The Stage Management team at Sheffield Theatres are outstanding and very friendly so it’s been very easy on this production.

The Assistant Director also needs to get on well with the cast and make them feel comfortable. Acting is a very exposing profession and some people can feel uncomfortable having a second Director sat in the rehearsal room, so you have to make sure they know you are there to support them as much as the Director.

What did you do to prepare for The Caretaker?

As I mentioned earlier, I did plenty of research on the period and various references in the text. This was incredibly interesting to do but at times very difficult. Jamie referred to it as “creating an encyclopaedia” and that’s what it feels like.

I also prepared as I would if I was directing the play. So I read the script plenty of times from different perspectives and noted some ideas and thoughts each time. I discussed with Jamie his thoughts on the piece and how he was going to approach it, which helped.

How have you approached Directing for The Crucible stage?

Obviously the Thrust stage creates an excellent dynamic as the play can be blocked in a completely different way to a Proscenium Arch stage, like The Lyceum.

We have been looking at the diagonals and how the positioning on stage can tell the story of the characters. Soutra’s set design also creates an exciting and edgy environment for the actors, which can really highlight the menace in the play.

What kind of creative input have you had in the process?

Jamie has been very open about the process and at the end of rehearsals and during breaks we discuss ideas and any problems we spotted.

It’s hard to measure how much creative input you have as you are there to support the play and the Director’s vision for it.  It’s been great to be part of those discussions with Jamie and the creative team. Jamie has involved me and respected my opinions (though not always agreed with them!) and has taken some of my ideas on board and not taken others, but he always explains why if he doesn’t take them on.

What advice would you give to people who are interested in Assistant Directing?

I hope I’ve covered some of this. But some tips would be:
      i)   One of the best ways to learn is to do. If you want to
            direct, the best   thing to do is direct.
      ii)  The Young Associates Network runs a Young Director’s
            course each term which people can get involved and
            learn about directing.
      iii) The Insights events run by Sheffield theatres are a great
            opportunity to ask questions about the process and to
            gain a more in-depth view of productions.
      iv)  It is always useful to have a broad spectrum of reference
            material so reading plenty of plays, going to see Art
            exhibitions, going to see films and reading all forms of
            literature are all useful.
      v)  Of course, there is no substitute for actually going to see
           productions of all kinds – even if a show is not very good
           there will usually be one thing you can take away from it.