The importance of theatre without ego...

It’s been a while since I wrote a blog but I felt inspired by the events of the last few weeks and so here I go…

 

I often (around about two weeks before the home performance) question my motivation for directing Connections.  This year was my 18^th! I’ve been directing them since 2004, that in itself, is a frightening thought!  It requires such investment of time and energy from me and the whole company…it isn’t cheap to do and we never break even with ticket sales so it takes up a significant amount of YTYT funds…it’s a labour of love that I do on an entirely voluntary basis – so the questions must be asked - why do it?

 

Well, firstly it’s a privilege to be able to stage new work by established playwrights, commissioned by the National Theatre, that is specifically written for young people to perform to audiences of young people.  The majority of the plays speak to now, speak to the concerns and lives of young people and provide a way of young companies of creatives to address them through theatrical creativity.

 

The next reason is entirely selfish - I get to engage in one of the few sources of CPD that exists for someone doing my sort of strange hybrid job.  Spending time at the National for the directors’ retreat - talking to writers and directors - ensures my practice doesn’t become stale – that I keep questioning what I do and striving to make it the best I am capable of.

 

The most precious motivation however is the bonds we make as a company and the distance we travel.  Nothing brings people together like the shared goal of making something precious and valuable.  During connections we make discoveries about ourselves in the company of others…we challenge ourselves and our partners in creativity and we experience victory and defeat in a meaningful and visceral way.  We emerge from that united in our pride and sense of achievement and knowing that we have learnt so much in the process that will both benefit us as theatre makers and as people.

 

Finally, everyone that takes part in Connections adds to an 18 year legacy at YTYT – I remember every play, every cast member, every production…the frustrations, despair, joy and achievements – they hold a permanent place in my heart and craft…I learnt so much from every process and from every person who was part of it.

 

All this general every year stuff is enough – but this year there were added enhancements… this year was special.  Obviously (almost) post pandemic times played a role in this.  Two years ago with Look Up we didn’t get to do our regional performance.  Last year – Connections week (February half term) and a large majority of the rehearsals were online for Witches Can’t be Burned.  Not only that but we had to film the production as we could only let in a hand full of audience into the venue and again no regional festival.  

 

This year however we were BACK – the whole shebang – rehearsals in person – a fully-fledged 5 day Connections week – 4 local performances and a regional performance at Sheffield – it was amazing to be back doing the whole thing as it was meant to be done!

 

This wasn’t the only thing that made it special – the script was a good one – a well written script telling a good story eloquently – this isn’t always the case but it absolutely was this year.  Also, a significant amount of people who have become part of the fabric of YTYT will leave this year – this was their last connections – you’ve heard from some of them already in previous blogs – a quick perusal of them (or time-consuming perusal in Connor’s case) will show what a big deal this is.  Finally, this was also a lot of people’s first Connections – watching the actors new to this adventure grow, develop, blossom and discover through the process was an absolute treat.

 

The local performances were a real achievement – all that effort coming to fruition in front of an appreciative and generous audience.  All the things I love about theatre happened during our performance weekend and I was left feeling creatively replete and proud.

 

FOR A WHOLE 12 HOURS…

 

It quickly became clear that the 2 weeks between local and regional performances were going to be fraught – 2 cast members had to step away meaning a significant recast…and I (after 2 years of successfully dodging the damn thing) succumbed to COVID.  This meant no in person rehearsals were possible.  It was all a bit of a nightmare…

 

BUT WE DID IT!!!

 

HOW?

 

Well first of all Connor and Arwen were incredible – to graft and take that leap of courage requires all the credit imaginable – I have seen many amazing achievements happen as part of Connections but theirs takes some beating.

 

BUT

 

I have a theory about why this happened – I treat Connections, as I treat all of my productions, as an ensemble process.  There is no room for hierarchy, status, ego or privilege…no one is more or less important than anyone else.  We are in it together. Everyone is in all of the rehearsals unless there’s a very good reason why not.  Everyone watches everyone else as they try things out, make discoveries, find their pathway as actor and character through the play.  I don’t have specific calls for specific actors. We are all there all of the time.  I know people sometimes rail against my demands and my response when people don’t attend either in person or though their presence in the room.  I know going the 10 rounds with me to explain why someone might have to miss a rehearsal is tedious but I’ve reflected on it and I make no apology.  Our performance in Sheffield is the proof that these standards create unexpected benefits.

 

In addition to the actors stepping into the parts being outstanding – the company accommodating them and the production we had created together was an absolute ensemble.  Everyone understood every moving part of it – everyone had a sense of the whole of it, not just their bit.  This meant when something shifted – in this case significantly - they knew what to do to accommodate this…the work was more important than any individual person so when individual people changed the work stayed strong…it was an outstanding experience to be part of it.

 

What’s great is this creation of the ensemble doesn’t just benefit the whole – each person who is part of it benefits massively.  They are part of something – connected – there are many studies that saying feeling connected is one of the best things we can do for our brain chemistry and mental health.  They develop skills and attributes – obviously in acting and performance but also portable skills for life – communication, empathy, problem solving, eloquence, time management, negotiation, confidence the list goes on and on and on…and so apparently does this blog…apologies.

 

My point – well one of them – is that theatre without ego…where collective achievement is placed over individual preference and privilege makes wonderful things happen.  Anyone who was present on the 25^th of March in the studio theatre of The Crucible theatre in Sheffield can wholeheartedly attest to that.

 

My thanks are heartfelt and copious – they go to everyone in the company of Hunt (actors, crew, assistant directors included) and the parents who supported them to be part of it.  They go to everyone who has taken place in Connections along the way – all 18 companies of them.  They go to Sarah and Cheryl without whom Connections simply wouldn’t be possible.  Finally, they go to Oz who has had to endure the last 18 years of making work with young people at the sacrifice of spending time with him…good thing he gets it and he’s generally wonderful!