Theatre director
A theatre director has responsibility for the overall practical and creative interpretation of a dramatic script or musical score, taking into account the budgetary and physical constraints of production. They are involved at all stages of the process, from the design and pre-production stages and rehearsal right through to the final performance.
Directors work closely with their creative and production teams, the performers and the producer to create a performance which connects with the audience. They therefore need to be able to coordinate effectively across a wide range of disciplines and with artistic vision.
Most directors are usually employed on a freelance or fixed-term contract basis. They may also be employed as artistic or resident directors in repertory companies. Some directors are also writers, designers and performers and may write, devise, design and act in their own work.
Most theatres are headed by an executive administrator or general manager answerable to a board, a local council or both. Large theatres may also have an artistic director who selects the plays to be produced in the theatre each season (and the director for each) and is responsible for managing the company and its finances together with the administrator. In the case of a small performing company, such as a touring fringe company or a theatre-in-education group, the director may also act as administrator or producer.
Aspiring directors may also have backgrounds as actors, writers, designers, stage managers or producers. Some directors begin their working lives as assistant directors, undertaking activities such as rehearsing certain scenes away from the main rehearsal and giving feedback to actors once the production is under way. Most directors, however, start their career in fringe and small-scale theatre developing their own work, often working on grant-funded or 'low-pay, no-pay' projects with like-minded artists.
Some theatre companies employ a full-time director as an associate. The director then works closely with the artistic director, assisting with the programming for the season and directing some productions.
Typical activities include:
Although this area of work is open to all graduates, a degree in one of the following subjects may improve your chances:
Entry is also open to all diplomates, but the following HND/foundation degree subjects may improve your chances:
Entry without a degree or HND/foundation degree is possible, e.g. through reputation and experience as an actor, writer, designer, producer, assistant director or stage manager.
Postgraduate courses are not essential if you have a relevant degree or a certain amount of practical experience. Graduates from non-relevant disciplines may choose to do postgraduate study but should ensure the course has a strong emphasis on practical skills.
You should gain practical theatre experience in acting, stage management and, particularly, direction in amateur or fringe theatre, e.g. through youth theatre or a student drama society group. For a list of theatre companies that may provide work experience or work shadowing opportunities see Get into Theatre .
Consider forming your own theatre company. This is a great way to learn about the directing process and how to work with actors and other members of the production team.
Try and get work as an assistant. The British Theatre Directory and British Performing Arts Yearbook provide contacts for speculative applications. Use a targeted CV and covering letter to explain why you want to work with a particular director and include all relevant experience on your CV.
In addition, candidates will need to show evidence of the following:
Theatre directors must also consider issues of ethics and authorship. Understanding all types of theatre, as well as having an awareness of audiences, resources and investors, is vital. Work may come from many avenues and you will need to show flexibility in your approach.
Try to see as many productions as you can, taking in a wide range of styles in a variety of different venues. Talk to the people who are creating the work. Often, there are question and answer sessions with directors after a performance. Also, read plays and novels, adaptations and screenplays.
Learn more about the organisational structure of a theatre by working with the front-of-house team, perhaps as a steward or box-office clerk. Consider other roles, for example in the wardrobe department, with the stage crew, or in the lighting or sound departments. All theatre experience is useful and provides you with knowledge of how the different theatre departments work, vital when directing a play. For more tips on how to get into theatre work see Get into Theatre .
Networking is a key factor in getting work - many jobs are filled through contacts made whilst working - so keep a list of contacts you make in the field and stay in touch on a regular basis.
The Directors Guild Trust and Directors Guild of Great Britain operate together and membership is open to students as well as professional directors. Benefits include discounts on training and events, as well as access to advice guides and a model freelancer's contract.
Some theatres offer training bursaries for young directors and it is worth doing some research to find out if any are available. Regional arts councils may offer grants to individuals. Competition for any type of sponsorship is intense.
For more information, see work experience and internships and search courses and research.
Many directors have no formal training; the skills required for the job tend to be developed by doing the work and are process-led. Few venues can afford to sponsor in-service training. Experience, reputation and credits are essential in order to progress and be successful within the directing career field.
Some drama schools offer specialist courses in directing. The National Council for Drama Training (NCDT) accredits certain courses in, for example, stage management/technical theatre. Courses in directing are also offered by members of The Conference of Drama Schools . Check with the Arts Councils to see if they are running any assistant director schemes and, if so, what the qualifying criteria are for application:
Membership of the Directors Guild Trust and Directors Guild of Great Britain provides a range of continuing professional development (CPD) and networking opportunities, including a series of networking events and courses, seminars and talks for directors. Professional directors (with two or more credits for professional productions as the primary director) have an entry in the DGGB Directory as well as access to professional advice.
Reading the specialist press, for example The Stage , keeps you up to date with the latest news and opinion affecting the profession and can be useful for anticipating future career opportunities.
A wide range of other short courses, workshop programmes, postgraduate study opportunities and specialist training options are available throughout the UK. The National Theatre Studio , for example, runs a number of regular courses for directors, as well as offering a number of attachments to directors lasting from two weeks to three months.
First appointments tend to be on a small scale, for instance, directing for a small touring company. Many directors come from self-started companies. The chance to progress to more prestigious work is determined by a combination of:
A minimum of ten years' reputable experience is normally required to apply for senior posts. Experienced directors may set up their own companies or theatre venues; others may accept residencies as associate or artistic directors in a particular venue, where they will be responsible for the complete programme of productions in a season. These roles tend to be more managerial in nature, involving planning, budgeting and determining artistic policy. In addition, artistic directors are usually responsible for directing one or two productions each season.
Some directors move from subsidised theatres to the commercial sector, which can also open up opportunities in film and television directing and may lead to a substantial increase in salary.
With more than 100 theatres in London, most UK-based directors will work there at some point in their career. As well as the great number of theatres in the West End, there are many others of varying sizes around the rest of London, making it an excellent base for freelance directors.
It is not, however, essential to work in London. There are many opportunities in regional theatres around the United Kingdom. These include:
If you prefer to work in a less traditional environment, there are rewarding opportunities available in:
Many directors find that there are more openings in this type of work early in their career, rather than in traditional theatre. Once established, however, theatre directors are often head-hunted.
Each year, many new directors take their first production to the Edinburgh International Festival where many contacts can be made at the Edinburgh Festival Fringe . There are large fringe theatre festivals throughout the UK, and it is worth investigating if your local town has one. There are also theatre festivals across Europe and worldwide; again, research and good contacts may take you there.
Recruitment agencies do not normally handle vacancies.
Many jobs are filled by word of mouth and by being in the right place at the right time. It is worth sending speculative letters to artistic directors or producers at larger venues, particularly if you already have relevant qualifications and experience.
Get tips on job hunting, CVs and covering letters and interviews.
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