How to Get Started in the Creative Industry: Directing
In just over a year since graduating, Kaleya Baxe has worked with major writers such as Mike Bartlett and Al Smith, directed an award winning show at The Vaults Festival, and is now Associate Director for WoLab Theatre Company. She’s basically – as they say – killing it. I had the chance to chat to her about her career so far, and the different layers to directing in the creative industry.
HOW DID YOU GET STARTED IN DIRECTING?
I trained as a facilitator and got some jobs assisting youth theatre productions. I then directed a piece for Theatre503's Rapid Write Response, where they bring in new directors. I also attended the Young Vic's Intro to Directing course and a workshop with the Royal Court's Associate Director, Hamish Pirie.
By the time I applied for an Assistant Director role at the Arcola, although I had no professional experience, I’d done enough to show I was passionate and the director took a chance on me.
CAN YOU TELL ME ABOUT THE DIFFERENT FORMS OF DIRECTING?
In community or youth theatre, you're normally working with non-professional actors so the way you encourage their acting skills is different to a trained actor. The intention of the project will also usually be about the process rather than the end product.
When you're working in a bigger theatre, you have to work with the building itself and have a bigger responsibility to deliver for the Artistic Director, which can be scary or stressful.
However, it can also be much more supportive because you have a bigger team to help you realise your set, do marketing or just generally support the production. For me, the most important element is that I believe in the piece of work that we're making.
WHAT ARE THE BIGGEST CHALLENGES YOU'VE FACED WITH DIRECTING?
A lot of theatre spaces are very male and/or white dominated, and that power dynamic can knock your confidence. Because I'm a black biracial woman, sometimes I've found that being shy or inexperienced translated as being uninterested or having an attitude, so rather than being supported or mentored, I’ve been left to fend for myself.
There can be an unhealthy culture of more traditional directors feeling that their assistants should go above and beyond their pay cheque to do anything for the show, and I'm not about that! I will do my job well without compromising my mental health or letting it take over my life.
But directing always comes with challenges. Actors dropping out, actors not getting along with each other, getting the tech sorted, and never having enough rehearsal time to make the show you want. The best thing to do is to be open to failing, making mistakes and realising it will still be ok!
WHY DO YOU THINK DIRECTING IS AN IMPORTANT ROLE IN THE CREATIVE INDUSTRY?
Directors hold a lot of power because they conduct a space. It’s our responsibility to make the rehearsal room a safe space. Unfortunately, this hasn’t always been the case. The track record of racism, sexism and other forms of oppression in theatre is definitely linked to how directors were traditionally seen - powerful and ruthless. Now, we’re seeing more people who believe that kindness and autonomy within a rehearsal room makes better work.
Directors are also one of the huge gatekeepers in the industry. A big reason why diverse stories weren't being told for a long time is because most directors were middle class white men. And we still have a long way to go. That's why we need more directors who want to tell new stories in a new way, and all while being kind!
WHAT ADVICE WOULD YOU GIVE TO SOMEONE WANTING TO START A CAREER IN DIRECTING?
Just find a way to do it! Especially now so many things have moved online, it’s much easier to connect to people. Find an emerging writer who's looking for someone to work with. Direct a short play over Zoom, even if it's just to friends! Nothing teaches you more than doing. And always be on the lookout for Assistant Director jobs - there aren't many, but they are out there!
Directing workshops can be a great way to connect to a building and most are free. Keep in touch with like-minded people and create a network of support. Sharing jobs and advice with each other can be a great way to keep you inspired and motivated, and makes the industry feel less impenetrable and scary.
Just do as much as you can! Your passion and hard work will open the right doors for you.
FINALLY, IN LIGHT OF THE CURRENT THEATRE CLOSURES, WHAT DO YOU THINK IS THE FUTURE OF DIRECTING?
Directors have had to adapt to working online. There's a whole art to it now!
Worries are that theatres will revert to going back to the directors they already know (mostly white men) who pose less 'risk', and that it will be even harder for new people to make it in the industry.
But I hope that this opens doors to more unconventional forms of theatre, perhaps with smaller budgets and more imagination. I can only hope theatres make more of an effort to support their freelance directors and continue to develop and support the next generation of future directors.
It seems a director has a lot of scope for change and new ideas in the creative industry. Whether it’s film, TV, radio or theatre, as the director you call the shots on what is going into that end product, which is a really powerful tool.
Subverting the ‘traditional’ form of directing and using a kind and ethical process with your actors will create better work. And with a lot of work moving online, there’s no reason why you can’t pick up a script, whack a pencil behind your ear (to feel ‘profesh’), and give it a go!
You can follow Kaleya’s theatre and other directing work on her Twitter account.
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Written by Annabel Chadwick