Directing Portfolio
I trained in theatre at the University of South Carolina and the University of Rhode Island, where I received a BFA in acting. At URI. I also worked as the Assistant Technical Director and Prop Master, which required me to attend all production meetings. It was in these production meetings that I first came to see theatre as a collaboration between a group of autonomous artists.
Both universities I attended as an undergraduate placed a large emphasis on understanding the contributions of each disparate element of theatre, so I took classes in set, lighting, costume and make-up design, acting, directing and theatre history, stage combat, clowning, and dance. Subsequently I would work professionally in all of these fields, apart from make-up. I have developed a profound respect for each of these elements and now, as a writer and director, I am able to talk and work creatively with all of my collaborators as one of their own.
I did my Masters work at Towson University in Baltimore, where the intercultural interdisciplinary graduate theatre program focussed on developing self-producing artists. We studied and worked with individuals including Theodora Skipitares and Shozo Sato , as well as with ensembles like the Bloomsburg Ensemble, and Squonk Opera. I worked on design and construction with Theodora on her production of A Harlot’s Progress in New York. I acted and assistant-directed Shozo’s production of Romeo and Juliet at Towson, and after finishing my studies I became a member of Squonk, serving as actor, production manager and creative collaborator on Squonk Opera’s Inferno, Bigsmorgasbordwunderwerk and Rodeo Smackdown. If you have a look at some of those links, I believe you will see a similar aesthetic to the work of Graeae. I don’t think I have seen a company since coming to the UK that more closely resembles what I did in the US.
In graduate school I often directed my own work, which now totals six plays: East of the Sun and West of the Moon, From Failing Hands, Aunt Mona Gamby, Southern Freud Chicken, Mary of the High Seas and Once Was Human.
These are a few of the ideas that have become indelibly significant to me as a director.
“The director’s first job is to make the actors want to come back for the following rehearsal”.
“I never want to limit myself by doing only the things I can think of”.
“If I have no idea what you are talking about I’ll probably say, let’s try it”
“My actors haven’t gone far enough until I can say, I think you’ve gone a little too far”.
“Listen to every suggestion, make a definitive decision and don’t be afraid to take responsibility and change your plan if you are wrong”.
“Work with actors who challenge you and earn their respect.”
“All art either supports an existing ideology or creates a new one. Be responsible for what you put out there.”
“The greatest poetry teaches us to love” - Puccini, La Boheme.
“Be altruistic, and then encourage others to point out the potential dogma in your altruism.”
“All theatre is political by nature” in the Boal sense; be aware of what you are supporting.
“It would be too difficult,” is never a good enough reason not to try something.
“Avant-garde does not have to mean inaccessible”.
Significant milestones in my education as a director include:
1. The moment I realized how important it is to be respectful, by not wasting actors’ time. I was observing a rehearsal of STONEWALL JACKSON, a new historical drama that was being directed by its author. There were more than 30 actors all of whom had been called for rehearsal but the director had spent the first two hours of the day only working with about five of them. Someone pointed out to the director that the other actors were getting quite restless. He said, “What do you mean, I can hear them rehearsing the songs in the next room”? “Those songs are not from your show” was the reply.
2. The moment I realized the power of “giving your work away”, as suggested to me by international theatre facilitator Philip Arnoult. I had told my boss at the woodwright shop about the upcoming show that I was directing. I said that I was hosting a party for a group of artists to explain the project and to see who was interested in helping. When my boss said that he would like to come my default reaction would have been to make some excuse that would prevent him from doing so, but instead I said that that would be great. At the party Thom was very respectful and listened more than talked. At the end of the evening he pulled me aside and said that there were lots of people there who could do lots of things he couldn’t do, but there was something he could do that they couldn’t. Then he took out his wallet and gave me $500. That was more than twice my expected budget for the project. Lesson learned.
In 2004 I was diagnosed with Parkinson’s. Needless to say this has had a detrimental effect on my career as an actor and fight choreographer but when one door closes, another one opens... so long as we choose it to be so. My background made the transition from performer to director quite an easy one for me.
Both universities I attended as an undergraduate placed a large emphasis on understanding the contributions of each disparate element of theatre, so I took classes in set, lighting, costume and make-up design, acting, directing and theatre history, stage combat, clowning, and dance. Subsequently I would work professionally in all of these fields, apart from make-up. I have developed a profound respect for each of these elements and now, as a writer and director, I am able to talk and work creatively with all of my collaborators as one of their own.
I did my Masters work at Towson University in Baltimore, where the intercultural interdisciplinary graduate theatre program focussed on developing self-producing artists. We studied and worked with individuals including Theodora Skipitares and Shozo Sato , as well as with ensembles like the Bloomsburg Ensemble, and Squonk Opera. I worked on design and construction with Theodora on her production of A Harlot’s Progress in New York. I acted and assistant-directed Shozo’s production of Romeo and Juliet at Towson, and after finishing my studies I became a member of Squonk, serving as actor, production manager and creative collaborator on Squonk Opera’s Inferno, Bigsmorgasbordwunderwerk and Rodeo Smackdown. If you have a look at some of those links, I believe you will see a similar aesthetic to the work of Graeae. I don’t think I have seen a company since coming to the UK that more closely resembles what I did in the US.
In graduate school I often directed my own work, which now totals six plays: East of the Sun and West of the Moon, From Failing Hands, Aunt Mona Gamby, Southern Freud Chicken, Mary of the High Seas and Once Was Human.
These are a few of the ideas that have become indelibly significant to me as a director.
“The director’s first job is to make the actors want to come back for the following rehearsal”.
“I never want to limit myself by doing only the things I can think of”.
“If I have no idea what you are talking about I’ll probably say, let’s try it”
“My actors haven’t gone far enough until I can say, I think you’ve gone a little too far”.
“Listen to every suggestion, make a definitive decision and don’t be afraid to take responsibility and change your plan if you are wrong”.
“Work with actors who challenge you and earn their respect.”
“All art either supports an existing ideology or creates a new one. Be responsible for what you put out there.”
“The greatest poetry teaches us to love” - Puccini, La Boheme.
“Be altruistic, and then encourage others to point out the potential dogma in your altruism.”
“All theatre is political by nature” in the Boal sense; be aware of what you are supporting.
“It would be too difficult,” is never a good enough reason not to try something.
“Avant-garde does not have to mean inaccessible”.
Significant milestones in my education as a director include:
1. The moment I realized how important it is to be respectful, by not wasting actors’ time. I was observing a rehearsal of STONEWALL JACKSON, a new historical drama that was being directed by its author. There were more than 30 actors all of whom had been called for rehearsal but the director had spent the first two hours of the day only working with about five of them. Someone pointed out to the director that the other actors were getting quite restless. He said, “What do you mean, I can hear them rehearsing the songs in the next room”? “Those songs are not from your show” was the reply.
2. The moment I realized the power of “giving your work away”, as suggested to me by international theatre facilitator Philip Arnoult. I had told my boss at the woodwright shop about the upcoming show that I was directing. I said that I was hosting a party for a group of artists to explain the project and to see who was interested in helping. When my boss said that he would like to come my default reaction would have been to make some excuse that would prevent him from doing so, but instead I said that that would be great. At the party Thom was very respectful and listened more than talked. At the end of the evening he pulled me aside and said that there were lots of people there who could do lots of things he couldn’t do, but there was something he could do that they couldn’t. Then he took out his wallet and gave me $500. That was more than twice my expected budget for the project. Lesson learned.
In 2004 I was diagnosed with Parkinson’s. Needless to say this has had a detrimental effect on my career as an actor and fight choreographer but when one door closes, another one opens... so long as we choose it to be so. My background made the transition from performer to director quite an easy one for me.