Directing
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"Fresh... unlocked the mysteries" - The Guardian, The Tsar Wants His Photograph Taken
Creator or collaborator on 4 out of 40 of Broadway World's 40 Immersive Shows to Experience in 2025
I've been directing for over ten years now, which is a baffling feeling. A few years ago, I felt like I'd started to find a style - creating truly live experiences, in larger-than-life from opera to genre fiction entertainments, that drew on a rich knowledge of historical arts practice and theory to create things that were for this audience, in this place, now.
Now, I am not so sure. I think I'm still a good director, with my dual primary practices in interactive immersive and opera serving me well as they intertwine around each other. Sometimes I'm even very good, and I'm increasingly proud of my work creating characters who are both archetypal and deeply emotionally engaging. I'm pleased with how I create collaborative teams that are fellow creators in the space; my role is defining the world and moulding the shape of the show, while letting there be room for others to be present in their own parts.
Equally, I've also started to have opportunities where there is almost enough rehearsal time; time to breathe and really sit in the work. Which creates an interesting space for reflection and rediscovery.
The tools that build the house in three days are similar, but not the same, as the ones that can do it in a fortnight. I am increasingly reminded of Zeami's* theory that in your twenties, one can rely on boundless energy. But in one's thirties, you start to hit the reality of whether your craft is good enough to be compelling without that energy. I hope that, so far, it is.
If you're interested in my approach, I wrote a few blogs about it here.
*Also, a golden rule of Leo: there's no daft questions. It's OK to look him up on Wikipedia. 'Common knowledge' is not a thing between rooms working on Shakespeare, opera, and horror theatre.
