Page 66 - Cosmopolitan - UK (April 2020)

ea rn

TE LL U S much that I would
change what I was
A TI N Y B IT
doing and stop taking
MO R E … risks. Sometimes you
just have to trust your
gut and know that
you’re the expert on
What’s your mantra? your own show. Now,
Be kind, always. if I get criticism, I ask
The pressure can be myself, “Did I make
intense on a big the work for them? Are
production. I try not to they the demographic
let it escalate and
allow time for fun. of the audience?” If
they are, then I take
on the feedback. A
70-year-old reviewer
isn’t the right person to
What are you listen to if you made the
listening to? show for teenagers.
I use audiobooks to
research the lives of
a play’s characters. Mentors are the
The Warmth Of same as friends
Other Suns, by Isabel After eight years in
Wilkerson, really Bristol I moved to
helped with Death London. My mum
Of A Salesman. wasn’t well, so I wanted

How I got my job... to be closer to her, but
I also felt I was ready
to move on from youth
as a theatre Where do you find theatre. It was like

starting again from
inspiration?
Everywhere. As a
scratch. I sought out
director director you need to assistant director
find out how people
jobs, particularly with
think and speak, so
I’ll start conversations women I admired in
on the bus or stand in the industry. Finding
Miranda Cromwell, who co-directed the recent West End a queue listening to a mentor, I think, is

production of Death Of A Salesman, shares her secrets… people chatting. almost the same as
how you would make
a friend – I would form
Your hobby can I didn’t think there was their Young Company Company. Early on, my a relationship with those
become your job any work in them. Even [ages five to 25]. students had suggested who I was inspired by.
I found out I was when I was studying we put on a show and I I was in email contact
dyslexic at college – it performing arts [in Truro, Listen… but to the was the one to organise with my mentors for
helped me realise that I Cornwall] I was selling right people and direct it. From there years, making sure
learn in a different way. double glazing in order In Bristol I became the I began directing three they knew I was keen
Throughout high school to subsidise what I director of the Young to five shows a year – to work with them while
I’d do all the creative thought was a hobby. large productions with also emailing feedback
subjects – anything to Back then I wasn’t “Finding hundreds of people. when I went to see their
stay as far from the really aware of all the One of the biggest shows. It was my work WORDS CATRIONA INNES. PHOTOGRAPH MATTHEW SEADON-YOUNG
traditional classroom as different jobs in theatre. a mentor lessons I learned was as an assistant that led
I could. I’m really drawn The only way I thought I how to keep my own to me being invited to
to making things with could make money from is almost voice while also taking co-direct Death Of
other people, rather something I loved was on advice. It’s important A Salesman in the West
than by myself, but to teach, so I went to an like making to seek out feedback, End, which was the
as much as I enjoyed audition at the Bristol but I used to listen to biggest production
drama and the arts, Old Vic theatre, to lead a friend” others’ criticism so I’ve ever worked on.

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