In our latest blog, JMK Assistant Director bursary recipient, Laura Ryder reflects on her experience of working on Little Red Riding Hood, a Birmingham Repertory Theatre Christmas production directed by Caroline Wilkes.
Why did you apply for the JMK Trust Assistant Director bursary?
It is brilliant to have a paid assistant director opportunity, these roles are really valuable for the creative development of directors. I wanted the opportunity to work with Caroline Wilkes; to learn more about making a show in a building and making work for children. This year I directed my first show for young audiences and this assisting opportunity allowed me to develop those skills further. Children’s audiences are so authentic and responsive, they are the audiences of the future and to be able to be part of a show which might be their first experience of theatre is a real privilege.
Little Red Riding Hood has integrated Makaton which makes the show more accessible. Lots of practice has involved working with creative access. I had experience working with Makaton in workshop settings and it was great to see it integrated in a show. The training and support for this aspect of the production has been great.
This bursary has given me space to be able to learn in this role from Caroline, reflect on my own process and be part of a wonderful team.
What are the main things you learnt from working on the production?
I have learnt so much about process; crafting a show and the role of a director working on this production. I learnt a lot about how to be transparent about process; naming the whats and whys of the rehearsal process. How this can help build trust in the team and allow for braver choices and risk. We were intentional at the start of the process about the values of the space. This had such a great impact on how the team collaborated and how the work was made. I reflected on how the role of a director is often to empower other creatives to do their best work.
The show is so visual and I learnt so much about stage images and generous storytelling. How to balance spectacle and driving the story forward. The show is in thrust which is a configuration I hadn’t worked in before and it was great to learn the considerations for directing in thrust, welcoming everyone in.
I learnt how intentional generosity can build productive and brave teams and beautiful shows. Everyone was welcome. This value was intrinsic to the rehearsal process, storytelling and the show. It ran through everything we did. Caroline ran an open rehearsal room and we had lots of young REP members, local directors and theatre makers coming and observing the process at all stages.
It is something I will take forward in my own practice.
What advice would you pass on to directors that are just starting out?
– Get inspired – go see as much work as you can, not just theatre, go to dance shows, art galleries, gigs, community projects, read books, anything which interests you. Learn what you love and question why you love it. Theatre doesn’t have to be one thing.
– Ask questions – never be afraid to ask questions. Someone else in the room probably has the same question. Asking questions can really help demystify the industry and process. Stay curious.
What excites you most about directing?
Collaboration. I believe we make better art with generous authentic collaboration. It is joyful what can be made when you have a team that trusts each other and trusts an audience. I think you have a responsibility as a director to build that trust. It helps us be braver, take risks and make better art.
