JMK HOME Manchester – RashDash Workshop & CV Surgery

We're pleased to share further details on our upcoming JMK & HOME Manchester Directors' Group events. To attend these events, you must be a member of the JMK & HOME network - to sign up, please email sarah.sharp@homemcr.org

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RashDash Weekender

Join RashDash in exploring starting points for making movement and text within a devised process. We’ll talk about and explore form and how we shape narrative when movement is a principle language and articulate mode of expression. Most of all we’ll try and play our way into discovering what we might make.

RashDash is an award winning feminist and physical theatre company. Shows include Three Sisters (UK Theatre Award Best Tour Production) The Darkest Corners (a large scale, outdoor, headphone show for Transform Festival 2017), Two Man Show (Edinburgh Fringe First Winner 2016, Stage Award for Acting Excellence).

Dates and details:

The workshop will run from 10am-5pm on Saturday the 15th and Sunday 16th December.

The deadline for applications is Sunday the 2nd December at 6pm.

How to book:

If you are a member of the JMK & HOME network, or once you have emailed to sign up, please fill in the application form via the HOME website. We have limited places available for this workshop so unfortunately we will not be able to accept everyone who applies. Successful candidates will be notified by 5th December at the latest.

If you have any questions about the application please email sarah.sharp@homemcr.org

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CV Surgery

A chance to get advice from Liz Stevenson (JMK Director Practitioner and freelance theatre director) and Jennie McCusker (Head of Talent Development at HOME) on approaches to writing a good CV and personal statement.

Dates and details: 

This event will run on Tuesday 4th December, 6pm-8pm.

How to book:

Places are free but you must be part of the JMK network. If you are not part of the HOME JMK network, please email sarah.sharp@homemcr.org to sign up. 

If you are already a member of the network, you can book your place here.

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If you have any questions about the JMK Regional Programme or where you can take part, please email katherine@jmktrust.org

JMK Regional Blog – Heather Carroll

"This bursary, and being an Assistant actually, is all about learning and collaborating. People won’t lose respect for you if you don’t know something but will if you just bulldoze through regardless."

Heather Carroll reflects on working as the JMK Leverhulme Assistant Director on Future Bodies - a HOME Manchester and Unlimited co-production in collaboration with RashDash...

Why did you apply for the JMK Trust Assistant Director bursary?

I applied for the JMK bursary because I didn't know where to start as a director getting my first in-house regional theatre credit. I trained as an actor at ALRA North and have been acting for about 7 years but really found a passion over time for directing and creating work. From that I started directing pieces of script in hand work and Fringe theatre, trying to build up a CV and connections but without formal training didn’t know what my next step could be. Why would anyone hire a trained actor as a director for their work?... JMK gave me my first chance and without it I don’t know how I would have made that next step up. I now feel like I can apply for directing jobs and be taken seriously.

What surprised you about this production?

Future Bodies was a multi-sensory assault that covered so many things – AV, live music, movement, script, captioning, scenes in BSL... You name it we had it so I was constantly being surprised when another element was added during the process because the show would get bigger and bigger. I also really enjoyed how clear Abbi and Helen were on making sure that Future Bodies was a true reflection of a variety of bodies in our community and the movement was about those 6 bodies being in the space, how they reacted with one another not what RashDash could choreograph. This didn’t necessarily surprise me but did make me look at my own practise as a director, to truly collaborate with the people in the rehearsal room – actor, creative and technical team.

What were your favourite moments during the rehearsals and run of this show? 

One of my favourite moments during the whole process was the BSL integrated show. I had been given the job of directing Karl, our BSL interpreter into the show... before this project I had never worked with an actor who was Deaf or on a show that had an integrated performance so was quite anxious about ‘getting it wrong’. I’d only seen or been a part of productions that stood the Interpreter in a spot in a corner (which thinking back is shocking!)... I spent a lot of time working with Karl, and Lara (one of our cast members who is Deaf) to make sure that the integration would work for both BSL-using audiences and the performers. I wanted to make sure that the BSL integration wasn’t an afterthought but truly part of the performance. The show went amazingly well, it was one of those shows you could feel a true electricity between the cast and audience and I learnt so much. Another favourite moment was the opening night at the Northern Stage in Newcastle. I grew up in Newcastle so to have the chance to take Future Bodies home was a real honour.

If you could only pass on one key thing you learnt from the experience, what would it be?

Don’t be afraid to ask questions or not know the ‘right’ answer. This bursary, and being an Assistant actually, is all about learning and collaborating. People won’t lose respect for you if you don’t know something but will if you just bulldoze through regardless.

How will you, and your future projects, be influenced by this bursary?

My future work will be heavily influenced by what I learnt during my time with the JMK, RashDash and Future Bodies. One major thing I will change in my practise is accessibility to my shows and rehearsal rooms. I’m planning to take a BSL course so I can be a director who can communicate directly with more of my actors in a rehearsal room and make my work more accessible to the Deaf Community. Also, to not be afraid to ask questions of your actors/team when you don’t know the right answer in terms of accessibility: people are willing to help you just have to ask. Working with RashDash has also given me a lot of confidence in my own voice as a female director... Abbi, Helen and Becky aren’t afraid to make bold choices for fear of people not liking their work; they truly believe and stand for what they create and to be in a room with them really inspires you to use your voice too. I also want to integrate more physical elements into my future work – the body and ‘movement’ shouldn't be an afterthought, it should be a starting point.

What excites you most about theatre?

One of the most exciting, and terrifying, things about the theatre is it being live with an audience sat there interacting with your work and ideas in the moment. Theatre can never be identical night in/night out and that’s what's so brilliant about it because great work is honest and true to that moment. There is something truly beautiful about an audience's part in theatre. I also love that it gives us a platform to spark change... I’ve always been a strong believer in using your work to do something – whether that be provoke, entertain or move and after working on Future Bodies I believe now more than ever that I can use my voice and work to do just that.

This JMK Regional Assistant Director bursary was kindly supported by the Leverhulme TrustFind out how you can take part in our Regional Programme at your nearest partner venue here.

JMK Birmingham Meet Up – Thursday 8th November

JMK Meet Up  - Birmingham Rep

Thursday 8th November, 6.30pm (with 8pm performance)

Associate Director Tessa Walker will run an hour-long session, and then Birmingham Rep would like to offer each of the attendees a ticket to Orange Polar Bear in The DOOR following its run in Korea.

The session with Tessa will start at 6.30pm in Rehearsal Room 2 and the show will begin at 8pm and runs 80 minutes (no interval).

To sign up for your free place, please email Catherine.Fowles@birmingham-rep.co.uk by Tuesday 30th October.

JMK Bristol Workshop – Sunday 28th October

Sunday 28th October
Tobacco Factory Theatres, Bristol 10am - 6pm

A day exploring the total arch of making work from getting it produced, to making it in the room.

10am - 11.30am: Nancy Medina

Nancy is a theatre director based in Bristol, originally from Brooklyn, NY.

The workshop will be focusing on the Director/Designer preparation for a production. 

11.45am - 1.15pm: Emma Bettridge

Join Emma Bettridge, a South West based producer, on a journey that interrogates what exactly a producer does. Or indeed what even is a producer anyway? Having started her career at the Edinburgh Fringe Festival as part of the Pleasance venues to producing new work for Bristol Old Vic, Emma will lead you through Edinburgh and non-Edinburgh specific approaches to making a show and what you do with it once you have it. From an early idea to the final show, this workshop will debunk the jargon, which often surrounds theatre producing, get straight to the point and answer your questions.

2.15pm - 6pm: Josh Roche

A half-day, in depth guide to dramaturgy; what on earth is it and how did it come about? How does dramaturgy affect directors, writers, actors and creatives? How can an understanding of dramaturgy's purpose help your own work? By exploring different scenes from new and old plays, as well as the work of contemporary theatre makers, this workshop will uncover what lies beneath the weird and beautiful world of dramaturgy.

Josh Roche is a freelance director and dramaturg. He is the 2017 winner of the JMK Award, directing My Name is Rachel Corrie at the Young Vic. He was the literary associate for Soho Theatre for two years and has worked as an associate director with Shakespeare's Globe and the Royal Shakespeare Company.

This workshop day is free to attend but please register for your place with Jo Holding: jo@jmktrust.org

JMK Reading Rep Residency – 26 & 27 Oct

We are thrilled to announce details of our upcoming residency at Reading Rep, with some fantastically exciting directors and theatre-makers. 

Over two days, participants will have the opportunity to work with and learn from them, with workshops focusing on: the power and responsibility we have as artists, tackling challenges in the rehearsal room and during production, working in community based-contexts, fundraising and company development. 

The Friday sessions will be led by Nyasha Gudo and Gbolahan Obisesan, both currently working on The Mountaintop, which will be in production at Reading Rep over these residency dates. Concession priced tickets are available to all participants. 

The Saturday sessions will be led by Christie O’Carroll and Paul Stacey, Associate Director and Artistic Director of Reading Rep.

More details about the weekend and information about how to sign-up can be found below:

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Friday 26th October, 11am-5pm

Workshop Day with Nyasha Gudo and Gbolahan Obisesan

As directors and theatre makers we have so much power and with great power comes great responsibility. This workshop will be in two parts, the first exploring the power we have as artists and our responsibility to the community, audiences, company and theatres.

The second part will be based around The Mountaintop by Katori Hall directed by JMK Winner, Roy Alexander-Weise, it will include Gbolahan Obisesan - one half of The Mountaintop cast, also a writer and director. It will be an opportunity to exchange ideas and experiences on process and how we handle challenges in the rehearsal room, tech and during the run through a combination of discussions and activities.

 

Participants will be offered concession rate tickets to the evening performance of The Mountaintop on Friday 26th or Saturday 27th October.

About Nyasha and Gbolahan

Nyasha Gudo:

Nyasha is a Leverhulme Arts Scholar and recipient of the JMK Regional Assistant Director bursary. A director from Birmingham, Nyasha started his professional journey as a director at The Birmingham Repertory Theatre as part of the RTYDS Introduction to Directing Scheme and subsequently on The Birmingham Rep‘s Foundry Programme.

Nyasha has been Assistant Director at The Chichester Festival Theatre, Birmingham Repertory Theatre, National Theatre and The Royal Shakespeare Company. He was Associate Director for the National Caribbean Heritage Museum and Furnace a community project by the Birmingham Rep. Recently, Nyasha has been researching process and technique as a director training with Peter Brook.

Gbloahan Obisesan:

Gbolahan is an actor, writer and director. He has served as a Genesis Fellow and Associate Director at the Young Vic.

Whilst Associate Director at the Young Vic, Gbolahan directed Cuttin’it by Charlene James. The Play was a co production between Young Vic, Royal Court Theatre, Birmingham Rep, Sheffield Crucible and The Yard Theatre. Cuttin’it was nominated at the 2017 Olivier Awards for Outstanding Achievement in an Affiliate Theatre.

As a writer he is under commission to Eclipse Theatre Company. He is also writing an original feature, WE GET AROUND, for Emu Films/Film4

 Theatre includes: How Nigeria Became: A Story, And A Spear That Didn’t Work (Unicorn Theatre); Pigeon English (Bristol Old Vic / Edinburgh Festival); Mad About The Boy (Edinburgh Festival and UK tour).

 

Saturday 27th October, 11am-5pm

Christie O’Carroll and Paul Stacey:

The morning workshop will involve the group working with Christie O’Carroll, Associate Director at Reading Rep, who will be focusing on her practice around working with vulnerable groups and in a community-based context.

The afternoon session will be led by Paul Stacey, Founder and Artistic Director at Reading Rep, who will be exploring the practicalities of how to set up a company and fundraise.

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About Paul and Christie

Christie O’Carroll:

 Before joining Reading Rep as Associate Director in September 2015, Christie was the Drama Artist for the Royal Lyceum Theatre Company in Edinburgh, where she assisted on professional company shows and directed large-scale productions for young people.

Christie’s work often received four and five star reviews in local and national press. She worked for many years as an Associate Artist with the Grassmarket Project throughout the UK and internationally, and has an extensive history as a freelance director and practitioner. She also lectured in Performing Arts in prisons throughout Scotland, directing performances in various facilities – one was nominated for a Koestler Award.  She was awarded a Winston Churchill Memorial Travelling Trust Fellowship and won the Bruce Miller Award for Directing. Christie trained at the RSAMD (now the Royal Conservatoire of Scotland).

Paul Stacey:

Paul is the artistic director of Reading Rep and Reading Studio of Dramatic Art. Credits include Sexual Perversity in Chicago (American Repertory Theatre), ‘Night Mother (Old Red Lion), The Dumb Waiter, Miss Julie, ‘Twas the Night Before Christmas, Waiting for Godot (all Reading Rep), A Little History of the World (Reading Rep and Watermill co-production), Every You, Every Me (Reading Rep, Oxford Playhouse co-production), Little Tragedies (Dramaturg – Moscow Art Theatre Institute), The Scarlet Letter (Playwright/Adaptor – New Repertory Theatre and on tour), Sleep No More (Assistant Director – Punchdrunk).

 Paul founded both Reading Rep and Reading Studio and has acted as Executive Producer on all projects to date. He has taught theatre history, acting and dramaturgy at Harvard University, University of Reading and Reading Studio of Dramatic Art. He is a Dramaturgy graduate of the American Repertory Theatre/Moscow Art Theatre Institute at Harvard University. He read English at the University of Nottingham, is a Teach First Ambassador and a Winston Churchill Memorial Fellow.

 

The residency is free of charge to attend. To book your place please email: nik@jmktrust.org

JMK Manchester HOME Programme Dates

We're thrilled to share the details of upcoming workshops for our JMK group at Manchester HOME. 

Working with writers - Thursday 15th November, 6pm-9pm
Learn about how to build relationships with writers, give constructive feedback and collaborate when developing new plays. Working with Manchester based new writing company Box of Tricks (Narvik, Chip Shop Chips, Plastic Figurines) learn about how to foster relationships with writers and pick up some useful dramaturgy skills. Book your free place here.

Add the following dates to your diary, booking will be open shortly:

JMK Directors group social - Wednesday 21st November, The Maids Press Night
See The Maids directed by Lily Sykes for free and catch up with fellow directors and theatre makers in the region.

One to one CV surgery - Tuesday 4th December, 6-8pm
An informal opportunity to receive one-to-one feedback on your CV with Liz Stevenson (JMK Director Practitioner and Freelance theatre director) and Jennie McCusker (Head of Talent Development at HOME) and to ask any questions or have a general chat about your career development as a theatre director. (If there is demand for this workshop we will plan an additional session but in the first instance these sessions will be given on a first come first served basis).

Save the dates - Devising theatre - Saturday 15th December and Sunday 16th December, 10am-6pm 
More details to follow.

Assistant Director Opportunity – Royal & Derngate Northampton

The JMK Trust in partnership with Royal & Derngate is offering an Assistant Director Bursary. The bursary is an arts scholarship, funded by the Leverhulme Trust that will provide a learning and training opportunity for a talented emerging director, who has demonstrated a commitment to directing and a passion for theatre making.

The role:
We are looking for an assistant director who will work on one of the exciting Made in Northampton productions at Royal & Derngate for approximately 6 weeks, between December 2018 – March 2019. We actively encourage applications from under-represented groups, including Black, Asian and Minority Ethnic (BAME) individuals and those who consider themselves to be disabled.

As Assistant Director, your duties may include:
• To provide general assistance to the Director.
• As agreed with the Director, to carry out any research that will inform and benefit the production.
• To observe rehearsals and have input in discussions and production meetings.
• To assist the company in documenting the rehearsal process for the purposes of marketing, archiving and evaluating the project through blogs, social media and other forms as agreed and transcribing interviews with the creative team to be put online.
• To observe and assist the Director in the production week as required.
• To attend and participate in post-show discussions by mutual agreement with the Producer.
• To support the company whilst the play is in performance as agreed with the Director and Stage Manager, including attending and noting the production.
• Inputting into the reading of scripts for consideration as future productions.
• Any further duties as required by the Director.

Bursary:
This is a paid placement in which £2350 will be awarded to the selected individual.

The bursary recipient will also be or become a participant of the JMK Directors’ Group at Royal & Derngate and as part of the bursary will also be responsible for working with JMK and Royal & Derngate to support and facilitate the group until the next bursary recipient is chosen.

Interviews:
Interviews will take place on Tuesday 9th October 2018.

How to apply
Please send a CV and covering letter, no more than 400 words, to Erica Martin via - erica.martin@royalandderngate.co.uk by 5pm on Monday 1st October 2018.

Please detail:
• Why you are interested in working with us.
• How this bursary opportunity will contribute to your professional development
• Your relevant experience and what you can bring to the role

JMK Newcastle – Workshop & Ticket Offer at Northern Stage!

We're thrilled to have a workshop with JMK Award winner (2017) Josh Roche coming up at Northern Stage, as well as a ticket offer for the post show discussion performances of some brilliant upcoming productions...

The Weird World of Dramaturgy - Workshop with JMK Award winner Josh Roche

Northern Stage, 16th October - 3.30pm - 5.30pm
An idiot's guide to dramaturgy; what on earth is it and how does it work? How does dramaturgy affect directors, writers, actors and creatives? By exploring a selection of different scenes from new and old plays, this workshop will uncover what lies beneath the weird and beautiful world of dramaturgy.

Josh Roche is a freelance director and dramaturg. He is the 2017 winner of the JMK Award, directing My Name is Rachel Corrie at the Young Vic. He was the literary associate for Soho Theatre for two years and has worked as an associate director with Shakespeare's Globe and the Royal Shakespeare Company.

To sign up for this workshop, please email Mark Calvert: MCalvert@northernstage.co.uk

JMK Northern Stage Directors' Group - Exclusive Ticket Deal

We have a great deal to see the following fantastic performances at Northern Stage. You'll find out loads about how these productions were made from their post show discussions, and you'll watch with other JMK Newcastle directors and theatre-makers! This deal offers:

£7 tickets for post show discussion performances of:

The Mountaintop 11 October. Directed by JMK Award winner (2016) Roy Alexander Weise.

Future Bodies - 17 OctoberUnlimited and RashDash smash together science fact and fiction in a kaleidoscopic montage of words, music and movement.

Fagins Twist - 30 October. Tony Adigun’s Avant Garde Dance flips your expectations of a tale you think you know...

Under Milkwood - 14 NovemberAn enfolding, haunting and at times unsettling experience that glimpses a golden era that may never have existed.

This ticket offer costs £28 in total. This must be paid all at once, and you must stay for the post show discussion.

To register your interest, please email JMK Director Practitioner Maria Crocker: maria@jmktrust.org

Reminder - JMK Assistant Director Bursary at Northern Stage

Apply by 12 October to assist Mark Calvert on the upcoming production of A Christmas Carol at Northern Stage. Click here for full details and how to apply!

 

 

JMK Regional Blog – Kolbrún Björt Sigfúsdóttir

JMK Assistant Director bursary recipient Kolbrún Björt Sigfúsdóttir gives us an insight into working on Ulster American at the Traverse Theatre and what she's up to next...

Why did you apply for the JMK Trust Assistant Director bursary?

I'd been wanting to work for the Traverse as an assistant director for a while and I'd applied for their assistant director positions a few times before. When I saw that the JMK bursary this summer was to aid someone to assist on the new David Ireland play I knew I had to apply. As someone who fell for theatre very much due to my introduction to in-yer-face I felt sure that this was going to be the kind of show I'd want to work on, knowing David's reputation and rising profile. Having seen a few of Gareth Nicholls' shows and been very impressed with his style, sense of storytelling, choice of subject matter and skill of staging I knew there was a lot I could learn from him. As someone who is carving out a career in directing new writing, it was a unique opportunity to be part of something special. When we got to read the script ahead of our interviews I got super excited about the prospect of being part of it. It is such a visceral play, it skewers its characters and their world views fearlessly and it takes the piss out of itself all the time. It's not often you come across a play like this and I felt very privileged to be reading it, let alone given to opportunity to be part of staging it.

 

What are 3 things you learnt from working on this production?

There was so much I learnt from being an assistant on Ulster American. I had never worked on a black comedy before. I hadn't been part of a professional team working on a brand new text and I hadn't been part of anything so politically dangerous to present.

I guess the first main lesson was how to pitch a black comedy like this, and that comes down to what you are wanting to say with the production. There are different ways to play this text but how it is played says a lot about the intent behind it. It took us a while to find where exactly to pitch this show and each new audience influenced this a little. It was a schooling for me, as someone who had predominantly worked on drama, to be working with material that felt volatile, responsive and fluid in the room in terms of how it hits you and what it says.

This fed into the second lesson, which was how you approach dangerous subject matters. It has been incredibly meaningful to me to be able to discuss this work with audiences, artists, fellow creatives and to see it discussed in criticism and online. I think the best thing about theatre is its liveness, the fact that it happens here and now. But there are degrees in which playtexts speak to their contemporary socio-political contexts. This was a play that needed to be performed in front of an audience here and now. Not in six months, it was pressing and urgent.  And as such it felt dangerous, it felt like it was a huge statement. We needed to treat that with a delicate touch, to discuss the connotations of the play, its history, context, politics and ideas thoroughly within the rehearsal room but not on our social media and our press outputs. It was important that the audience saw it without too much knowledge of how it might be interpreted to maintain an honest dialogue with them. In short, we really had to do our homework but we needed not to lecture anyone on the findings unless specifically asked. It was quite a task, I have fifty pages of basic research on it, with links to loads more!

In terms of the third lesson, the one on how to work on new text, it is the one hardest to share. Each new text will have different needs. But my main take away from this experience is to really interrogate the text, to keep an eye on its dramaturgy at all times and keep an open communication between the writer and the director and the cast. It was a joy to work with a team of actors and a director who are used to this process and with a writer who embraces it. It was so obvious we all wanted this text to be the very best it could and I think new writing needs that kind of passion.

 

What surprised you about the production?

What didn't? I guess my main surprise was the audience reaction. We anticipated strong reactions but I don't think anyone could have imagined the almost football match levels of engagement and vocal reactions we had during some of the performances. Some reactions were completely different to what I expected. A laugh in a place I didn't foresee mainly but a few shock and horror reactions in places I didn't expect as well.

 

What other projects are you working on, and what ideas will you apply from this bursary?

I am working on quite a few small cast, intimate new writing pieces and this experience will influence a lot of the work we do on them. I'm in development for a few new plays and having had this experience I feel a lot more qualified to lead those processes. It has made me a better dramaturg and a bigger enthusiast for the magic of the in-rehearsal rewrites, for sure! I think I will be more likely to push for shows to really go for the guts in their approach to their subject matters, and I hope I can lead artistic teams to that end. Now is the time to be brave and say the wrong things so that we can interrogate them.

 

What advice would you give for directors starting out, and for those setting up a theatre company?

Having just directed a version of Hamlet (currently touring) with my own company I guess the words 'To thy own self be true' feel really important to me right now. There are gigs out there that are good money, but don't do shows because of that. Do them because they say something you want to say, explore something you want to explore, scratch a creative itch in a way you need it to be scratched and you can be proud of. And if a production doesn't do any of those things, find a way to make them. Challenge the content and the team. It has to be relevant, to you, to the audience, and to the journey you both are on.

 

What excites you most about theatre directing?

Everything. I think being in a rehearsal room is the best feeling any job could give me. It is a chance to create, a chance to aid, a chance to surprise, a chance to grow, a chance to challenge, a chance to learn, a chance to teach, a chance to listen and a chance to be heard. It is a collaborative process that cannot be replicated or quantified and it always happens for a reason. I just think it's beautiful.

 

Kolbrún Björt Sigfúsdóttir is the Artistic Director of Brite Theater

Brite Theater's Hamlet (an experience), (Richard III (a one-woman show) and (Can This Be) Home are currently touring.

This bursary was kindly supported by the Leverhulme Trust.

We're looking for our next JMK & Leverhulme Assistant Directors, with current bursaries for Northampton and Newcastle based directors. You can also find out more about our Regional Programme here.

JMK Assistant Director Opportunity – Northern Stage

The JMK Trust in partnership with Northern Stage is offering an Assistant Director Bursary to a participant of the JMK & Northern Stage Directors’ Group. The bursary is an arts scholarship, funded by the Leverhulme Trust that will provide a learning and training opportunity for a talented emerging director, based in the North East who has demonstrated a commitment to directing and a passion for theatre making. The recipient will become a Leverhulme Arts Scholar.

The role:

We are looking for an Assistant Director for Mark Calvert's upcoming production of A Christmas Carol. This Northern Stage production of A Christmas Carol will be designed by Rhys Jarman, lighting design by Sam Vivash, with sound design by Nick John Williams and musical composition by Hannabiell Sanders. The show will be presented in a reconfigured Stage 1 at Northern Stage.

The assistant director will need to be available for:

Rehearsals from 29th October 2018

Technical from 26th November 2018

First preview 1st December 2018

Press: 6th December 2018

Closes: 5th January 2019

As Assistant Director, your duties would include:

  • To provide general assistance to the Director.
  • As agreed with the Director, to carry out any research that will inform and benefit the production.
  • To observe rehearsals and have input in discussions and production meetings.
  • To assist the company in documenting the rehearsal process for the purposes of marketing, archiving and evaluating the project through blogs, social media and other forms as agreed.
  • To observe and assist the Director in the production week as required.
  • To attend and participate in post-show discussions by mutual agreement with the Producer.
  • To support the company whilst the play is in performance as agreed with the Director and Stage Manager, including attending and noting the production.
  • Any further duties as required by the Director.

The bursary recipient will demonstrate a commitment to living and making theatre in the North East area and will also be or become a participant of the JMK Northern Stage's Directors’ Group and as part of the bursary will also be responsible for working with JMK and Northern Stage to support and facilitate the group until next year’s bursary recipient is chosen.

Bursary:

The Leverhulme Bursary consists of £2,350.

How to apply:

Please send a CV and covering letter to Mark Calvert at mcalvert@northernstage.co.uk by 5pm on 12th October 2018.

Interviews will be held at Northern Stage on the afternoon of 17th October.

Please detail:

Why you are interested in working with Mark Calvert the director on this production of A Christmas Carol at Northern Stage.

  • Your relevant experience and what you can bring to the role.
  • How this assisting opportunity and involvement in the Northern Stage JMK Trust Directors’ Group will contribute to your professional development.
  • Your commitment to living and making theatre in North East.

If you have any questions please contact jo@jmktrust.org