Skills for the Theatre Creative
This portfolio reflects the varying processes and methodologies I encountered within this module and how I adapted these into professional contexts for my personal growth as professional Theatre Director and Writer, and to build on articulating a personal profile through a website and CV that communicates the experiences I have encountered to date.
ARRIVING ON TO THIS COURSE…
To identify as a Director/ Writer has taken a long time for me.
When I first started as a local artist in Leeds over ten years ago (Image One) I recall a significant theatre director of a regional theatre telling me that I shouldn’t articulate myself as more than one skillset as that would confuse a building or producer. Upon reflection through my time on this module, I feel it was misjudged for the induvial to say that a theatre director cannot also be a writer, or a performer.
Especially looking at artists such as Jack Holden (Image Two) Debbie Tucker Green (Image Three) and Kip Williams (Image Four) who are making an impact within the industry and recognised for their multidisciplinary skillsets, a quality in artists that always seemed to speak to my inquisitive nature.
This comment especially impacted me as I was seventeen, however this module has allowed me reflect that at this time I idolised and put these leading figures on pedestals, I strongly believe a major contribution is that they were giving me access to my creativity and were acting as gatekeepers, a term I have more recently come to understand.
But as a young teenager from a low socioeconomic background and only having access to limited materials this restricted my knowledge and understanding on the endless opportunities within the creative industry, especially if when you start to engage with network further afield.
in Kenrex, 2025
I came into this academic year with the personal goal to analyse my creative responsibility as a theatre director through action research in particular, aligning with my line of inquiry. And I began reflecting on the skills and values I was arriving with (Image Five)
This module helped me articulate that personally as an induvial I learn more from practical situations and exploring an academic provocation through task exploration rather than just letting it stay on the page or around a table, as this can restrict or limit creative instincts from all concerned, in my opinion.
Within this module welcoming varied practices and applying them to a scope of contexts has also assisted me into building a personal profile and reputation that has led me to expand my learning experiences through both placement and professional job opportunities.
I discovered during this module that I liked classes and rehearsals that were formed by a clear structure. For example, with checking in and checking out opportunities, allowing everyone within the space to declare (if they wish) what they need from the room, and each other, in order to do their best work in that moment.
I particularly liked an exercise where everyone in the space says what battery percentage they are at, indicating their energy or commitment level.
This feels like a very achievable inquiry that gives a very clear indication of where each individual is at in the space and can help myself as the facilitator remain mindful of that information throughout without the need of having to pry.
Another discovery was addressing elements outside of the room, therefore acknowledging the weather or news that people may bring into the room with them (Dix, E. 2025) Acknowledging this to avoid anything being unspoken and then collectively agreeing to leave this outside, as everyone comes together collectively to investigate the task in front of them feels like an achievable and supportive tool also.
An exercise that I also explored with within this module was at the start of a check in asking everyone within the room to speak to the history of their name/ or how they feel about their name (this being the name they wish to be referred to in the space)
I learnt this tool whilst on placement with Tutti Frutti Theatre Company (2025) It was really encouraging to be able to lead this within classes and see the positive result this had within the space.
It allowed people to share (within their own personal parameters) a part of their identify, and I feel that as there are times where the hierarchical structure can feel prominent within a space, to have a short task that reminds everyone of each others humanity is a way to access the work that especially reflects my process as a director, which is to encouraged and elevate what an artist or performer is arriving into the creation space with.
This also helped me to create my own access rider, with clear parameters of my own, giving me the opportunity to declare or share this information, where I feel necessary (Document One)
PREPARATION
I have been able to understand that I am very driven by creating a world and accessing the work through this as a collective starting point.
I am aware that Mojisola Kareem at Utopia Theatre (2012), who very much likes to immerse her performers within the world and textures of the world from the first day of rehearsals (Kareem, M. 2012) As an early career theatre maker, I don’t always have the same tools available in the way that a theatre company receiving National Lottery Funding can access materials, however this provocation and the intention of this helped me to simply the above to access my work by creating a Pinterest board (Image Six) and Playlist (Image Seven) reflecting when I first read the text, beginning to accumulate ideas.
This is something I can then later show to creatives or performers in a more concentrated and focused way, if useful. I also set the performers this task (for their characters) as it helps me see their instincts towards their characters, and this may introduce me to a differing point of view, and means everyone starts from the same place.
TOOLS FOR TEXT
As I have previously trained as an actor for three years at the Conservatoire (BA Acting) and prior to that at The National Youth Theatre (Senior Acting Course) I am very familiar with Actions and Objectives. This means I also am very familiar with the notion that performers can resistant these tools as some argue they can be restrictive task.
To summarise, from Stanislavski’s system (Stanislavski, k. 1935)
An Objective, refers to a character’s primary goal within a scene or play (Stanislavski, k. 1935)
An Action, refers to the intention or goal a character pursues in a scene, guiding their behaviour, decisions, and emotional expression. These occur on each line (Stanislavski, k. 1935)
I have come to simplify this further and like to call this a ‘tactic’ as I feel asking for a ‘tactic’ feels more playful yet still focused in the moment we are collectively trying to experiment with.
To Unit a script, comes from Stanislavski’s system, you divide a scene or play into smaller, manageable sections, each representing a distinct shift in action, intention, or emotional tone (Stanislavski, k. 1935)
From an academic approach I agree that Actions and Objectives assist us in understanding want, need, and behaviour, from a character’s perspective, and gives us varies approaches to play is a space.
I like to have these tools to hand but feel uniting each ‘event’ of a script by sectioning and titling each moment (Naming it, like a chapter of a book) really helps isolate and bring a focus to the moment that needs collective attention, personally this is the most successful of the three for my current approach. But if I then need to work with a performer text mining then we would apply the Actions and Objectives.
I recently came across an interview between Sheridan Smith and Romesh Ranganathan (Smith, S and R, Ranganathan. 2026) discussing an experience they had in a rehearsal room Women in Mind by Alan Ayckbourn (2026) Directed by Michael Longhurst (Duke of Yorks Theatre) 31/01/26
(Video One ) I was disheartened to hear that they felt due to not attending drama school they did not understand an exercise that was happening within the space and it sounded like they were missing out on the process as a result.
This helped me to conclude that if I was bringing a task or tool into the space then it would be my responsibility to explain this without casting any assumptions, to ensure everyone in the space is treated with parity and respect when setting up a task or giving information.
I wouldn’t assume everyone is coming from the same learning experience and would therefore take the time within my schedule to explain to the company the task, the tools we are using, the objective of the task and what I want us all to explore within those parameters.
I also have found it useful to adapt learning methods for suitable uses within different parts of the production process to assist me as a theatre director.
For example, using Cornell Notes, a structured note-taking system designed to improve comprehension, organisation, and review of information (Pauk, W, Cornell University. 1950) and adapting this into a way of taking notes during a rehearsal or technical run.
For example (Document Two) the side is anything tech/props/costume that I need to address, the big box is notes that I give to performers after the run and the bottom is anything where I think it’s a recurring thing we need to do an exercise around or address as a chunk of rehearsal.
BUILDING A SPACE
Discussions within this module helped me to understand that I am driven to creating supportive and encouraging environments for everyone to do their best work. I particularly liked when my tutor once stated Please be mindful I always want you to do your best and if there any issues, this may be due to an error beyond may control or that I am not aware of and therefore please tell me (Dix, E. 2025) I felt that this was a really nourishing way of encouraging people to speak openly to address situations in the space that need prioritising.
Holding everyone accountable for their actions including myself as the leader is crucial and something I have been able to slowly explore within creating my rules of engagement. I feel that the rules will always depend on the scale, nature and expectations of the task or project. For example (Document Three) is the rules of engagement for the upcoming rehearsed reading of my new play The Peasants Feast, produced Finding Our Feet, Seven Arts (2026) a piece that I have workshopped and explored within this module. I found it was important to balance the terms whilst still encouraging creativity, I also was able to acknowledge that these terms are the first representation the participant would have of me ahead going into the project. Therefore, I also gave them a link to a google drive that is a resources hub for performers to access important documents such as research tools, admin, schedules and updated drafts. This module helped me to understand that locating this to one place encourages an artist to feel supported within set parameters that reflect my artistic values, without feeling overwhelmed.
I also pride myself on my knowledge and research when it comes to industry standards and expectations. I understand some people may find that ‘content advisories’ and ‘Rules of engagement’ to be ‘over-cautious’ however I feel I am able to take advise from both industry and my peers, and this way of learning as helped me to adapt this approach in order to best reflect my artistic intention of creating a supportive and encouraging environment.
Currently working on my final major project, The Perks of Being a Wallflower, I was delighted to hear the thoughts from my performer Solomon Gordon whilst rehearsing together (Image Eight) This has reassured my that I am on the correct trajectory with this artistic intention.
CREATING MY OWN OPPORTUNITIES
Having spent time during this academic year learning about the expectations of a dramaturg and how a new work department can operate, I was able to really appreciate the value in the above feedback from the Royal Court, after submitting a piece of my writing (Image Nine )
Having learnt during dramaturgy how venues document feedback through a script report system and attempting my own script report in a module task, I came to understand these new writing departments rarely give writers direct feedback and for the Royal Court to take the time to give their opinions and encourage me to send future work, means this could hopefully mean the start a conversation between myself as an artist and a venue I have great amount of respect for. This experience and classes has also helped me develop artists connections with my tutors, for example Dramaturg tutor Ruby Clarke, who is Artist Development Manager at Sheffield Theatres invited me to press night of The Ladies Football Club (2026) adapted by Tim Firth, Directed by Elizabeth Newman, Sheffield Theatres (5/03/26), where I was able to engage with another artistic community and see work from the lens of an Artist Development Manager. All of these opportunities stem from this module and the understanding it gave me to remain proactive and inquisitive towards broadening my knowledge towards the range of roles that occur within organisational structures.
I also within this time have learnt how to give direct feedback that prescribes and provokes provocations rather than pushing an answer or restricting discovery.
Helping the writer or performer understand a certain quality, emotion, image I feel a moment needs but allowing us to conjure that together.
Rather than pushing the induvial this module has helped me understand it is about exploring the provocation rather than feeling pressured to ‘get it right’.
This means there may be several discoveries that wouldn’t have occurred otherwise and then together we can reflect on what feels the most successful to what the moment within the piece needs.
I also feel that to concentrate feedback and share it in small doses, in regard to what is your priority in that moment, is a far more successful method rather than bombarding an induvial with a long list.
I have been able to apply this discovery to professional jobs such as a creative consultant and dramaturg on several shows including Drive by Joe Flynn, Directed by Aaron Fontainne, Seven Dials Playhouse (2025) (Image Ten)
Whilst reading Directing, a handbook for emerging theatre directors Swain, R (2011)
Swain speaks to a story where a director finds themselves in conversation with an artistic director, the artistic director was very friendly, and she began to ask the director about directors’, writers’ and actors’ work that the director has seen lately and enjoyed. But when the conversation went on to designers and lighting designers, the director had realised that he had not really noted who had designed the productions he admired and could not voice an informed opinion about designers’’ or lighting designers’ work. Swain, R, (2011)
I myself have been keeping a documented spreadsheet of the work I have seen over the past four years (Image Eleven) however, this section of Swains book helped me reflect that I had only been keeping note of the directors and writers of pieces and not included other creatives. And that moving forwards I will expand on this by creating a list of Designers and lighting designers, such as Designer Andrew Exeter, in Macbeth by William Shakespeare, Directed by Jamie Fletcher, Storyhouse (2026) (Image Twelve) I was really impressed and taken aback by clean, slick quality of Andrews design and how it created a cinematic lens and brought a sense of intimacy to the work, making the audience have to lean forward into the work created.
Most recently, I have been applying for assistant director jobs within my local area and where I meet the criteria set out within job descriptions.
(Image Thirteen) When I was unsuccessful in my application for assistant director of Brassed Off at Leeds Playhouse, I replied to this email straight away as I believe it is important to thank fellow artists for their time and consideration as this can continue an ongoing conversations between an artist and a building/organisation.
I also wanted to thank the individual who sent the email as I have often received emails like this and not been given a reason to why I was unsuccessful or how I can develop my skillset to achieve a role such as this in the future, and I stated this to the representative of the organisation and received this below reply. It was very reassuring to be encouraged to apply for future opportunities within the organisation and I do feel that some specific qualities that the director had to prioritise were due to the rare obscurities that specific production contained, for example an extensive history of working with brassed bands. And though I did have experience in observing large scale productions, and working with young people this wasn’t deemed as a strong enough example to show evidence of integrating youth or community chorus into a professional production.
Therefore, I looked into how I could use the remainder of my academic year to apply these skills to my toolkit.
I have successfully gained work experience on Opera Norths’ production of The Sound of Music, A remount Production of Nikolai Fosters’ 2025 production at Leicester Curve. Taking place from May 2026, I will be attending the first day, music rehearsals, blocking rehearsals, children’s rehearsals and sitzprobe, to help me gain further understanding on large scale production and also in addition to assist build an understanding and experience of directing musical theatre, expanding my knowledge in this field.
I will in addition be co-directing a modern-day adaption of Little Red Riding Hood, called Unmasking Red with Theatre Led Arts as a part of Leeds Theatre Festival. This piece is through the lens of ‘Little Red’ being a young child with autism and how ‘the pack’ and ensemble entity exists around her.
Within this production I will be directing alongside MA Dramaturg Tonicha Jeronimo on her passion project (Image Fourteen)
This experience will give me in depth opportunities working first hand with a young company of dancers and young child performers.
I will be navigating and applying these two upcoming experiences alongside directing my own MA Festival piece and being associate director on an adaption of Colin Wilson’s Poltergeist with Totally Fictitious Theatre Company (2026) which will also help strengthen certain gaps within my knowledge and toolkit. Working on Colin Wilson’s Poltergeist with Totally Fictitious Theatre Company (2026) will require sound design embedded throughout the storytelling and therefore giving me an in-depth learning opportunity to work with a composer, sound designer, sound recordist, and mixer.
The above opportunities and discoveries stemming from this module helped me to identify who I am as an artist (as highlighted above) gradually building a personal profile and reputation as a result, reflected within my website (https://www.brandonrc.co.uk)
I wanted my personal profile to reflect my actions I have produced to date, reflected within a website that I have built through this academic year, with the support of a collaborator and friend of my Jonthan Rainey Reid, an artist who as an experience in building websites.
In addition, when building my CV (Document Four) I looked onto others such as Robert Icke (Document Five) as myself and Robert both identify as Director/Writer, therefore taking inspiration from is CV was very helpful, especially as liked the format, and inclusion of a short bio at the top of the page, I felt that having this included within the document rather than trying to add this on within an email made it is easier for someone to access everything about me I wanted to see within viewing. I also spoke with my personal mentor Tom Wright, Artistic Director at Leeds Playhouse (2025/2026) who helped me to understand the key points he is looking for within a CV…
- Listing achievements and accolades from organisations that are held to a high standard or have a good/notable reputation.
- (As an early career director) To show I am meeting the requirements of Assistant and Associate experiences.
- Have other skills sections to follow in ordered to show I have built on my professional practice and creative identity.
I was delighted to be given reassurance by James Brining, Artistic Director / CEO Royal Lyceum Theatre Edinburgh (2026) who in email correspondence responding to my CV (Email, 23/03/26) stated keep working as hard as you evidently are.
I was happy to receive confirmation that my CV (Document Four) reflects the hard work and effort I having been put into development opportunities, in response to discussions throughout this module.
This module has helped me identify that I pride myself on creating a space that thrives on being a supportive ecology.
And that I approach creating work by engaging with younger or underrepresented audiences that don’t feel represented truthfully (in regards to respectfully including their culture) by building a supportive environment that elevates the spirit and culture of the work and the audiences it is made for.
My artistic signature is to use the theatrical form to conjure truthful emotions and responses from audiences, who have spent their hard-earned money and given time to experience the collective experience of being a part of the theatre community.
For example, with The Peasants Feast (Video Two) my artistic intention was to create a piece that platformed the behaviours of young adults within our society at a student party without judgement. As the creator I have made this content unapologetic, loud, and overstimulating at times through visual and sound design whilst using in depth research with charities and working with young people to depict them in a truthful manner, rarely depicted within the arts in a respectful way.
This is the start of me understanding who I am as an artist and the work I want to make. But this also helps me to continue moving forwards on the trajectory that I am making stories powered by young people who have similar experiences and qualities to my lived experiences (Northern, Queer, Neurodivergent)
I have used academic provocations and adaptions of methodologies within Skills for the Theatre Creative as a springboard to serve the stories and the people that I am focusing on depicting at this moment in time. These projects vary in style and genre however they all align with coming from a place of sincerity to stage stories that are elevated by the theatrical form.
I have particularly learnt that at times applying certain methodologies or safety parameters can dilute or overcomplicate a process and that coming from the shared understanding that everyone has been hired and selected to serve the work, should put everyone at an equal balance for arriving at the work whilst being conscious of the creative hierarchy in order to bring structure and clear management.
I am prepared to make adaptions and adjust in order for everyone in the space to make their best work, as long as it does not comprise anyone’s health or safety within the process.
I will use my above findings to further work on my website to communicate my recent achievements and my development as an artist.
In the future, I will produce a short highlight reel of my varied work to date. Further to Tom Wrights feedback I am able to understand the large number of applications and reels an organisation, producer, or artist receives and therefore look to make this a short reel that reflects my creative energy in a realistic viewing length.
Finally, I will look to apply for opportunities with RYTDS and JMK Trust to try and achieve further professional development roles, in addition to starting to build my own theatre company and continue to create my own work, starting with Directing a confirmed R&D this summer at The Barnsley Civic.
BIBLIOGRAPHY
Colin Wilson’s Poltergeist by Michael James (2026) Directed by Michael James (Totally Fictitious Theatre Company)
Directing, a handbook for emerging theatre directors Swain, R (2011) Bloomsbury
Dix, E (2025)
Drive by Joe Flynn, Directed by Aaron Fontainne, Seven Dials Playhouse (2025)
Exeter, A (2026)
Icke, R (2025)
JMK, James Menzies-Kitchin Trust (2026)
Kenrex by Jack Holden (2025/26) The Other Palace, 2026.
Macbeth by William Shakespeare, Directed by Jamie Fletcher, Storyhouse (2026)
Naomi Summer Chan (2026) Assistant Director Outcome (Email) Message sent to BrandonRC (16/04/2026)
Royal Court, Artistic Team (2025) Writers Submission Outcome (Email) Message sent to BrandonRC (05/11/2025)
Regional Theatre Young Director Scheme, RYTDS (1960)
Stanislavski, K (1935)
The Picture of Dorian Grey adapted by Kip Williams (2022) Directed by Kip Williams (Melbourne Theatre Company)
Tucker Green, D (2026)
Tutti Frutti Theatre Company, Artistic Director Harris, M (2025)
Utopia Theatre, Artistic Director, Kareem, M (2012)
The Ladies Football Club (2026) adapted by Tim Firth, Directed by Elizabeth Newman, Sheffield Theatres (5/03/26)
The Romesh Ranganathan Show (2026) Sheridan Smith: Comedy, Imposter Syndrome & Her Dream Role (Video) (03/04/2026)
The Sound of Music by Richard Rogers and Oscar Hammerstein. Opera North (2026) Directed by Nikolai Foster (Leeds Grand Theatre)
The Women in Mind by Alan Ayckbourn (2026) Directed by Michael Longhurst (Duke of Yorks Theatre) 31/01/26
Wright, Tom (2025)
