Previously, whenever I thought of drama students, I envisaged budding actors.
I just assumed that the reputation and renown of being centre stage was the ultimate prize for a theatre arts student.
What I seem to forget is that before the curtain even comes up there are months – sometimes years – of preparation that make such performances possible. Behind all the entertainment there is actually a slick, well-oiled machine of stage managers, set designers, directors, producers and their assistants.
Natasha Rich, a University of Birmingham drama and theatre arts graduate, was the first to offer me some insight into theatre careers beyond the spotlight. Natasha freelances as a director and has been involved in several London productions. Her first sentence was perhaps the most surprising.
"Networking is just as important as experience." She pauses. "If not more so."
Natasha's first foray into the directing world was as an assistant director in Pip Minnithorpe and Dougal Irvine's new musical Departure Lounge, and it was here she first realised that the age-old cliche of it's not what you know it's who you know was in fact alive and well in the theatre industry.
"I learnt a lot. I was involved in so many aspects of backstage and it really took the fear out of directing for me. More than anything I met so many people - it's basically an opportunity to network, network, network."
In an industry that is so over-subscribed and where hiring is based almost entirely on reputation and recommendation, it's clear these contacts are absolutely priceless.
"You really can't pay for those opportunities and contacts" Natasha said. "You've also got to remember that many of the jobs aren't in the public eye and it's more about the 'I've got this great assistant' and 'Oh, really? I'm looking for one' conversations."
Catherine Hooper is an English literature graduate who couldn't agree more: "On a play you're working with, say, 10 people. Already you've got 10 possible recommendations."
But Catherine – who freelances as an assistant director and has worked on the epic Restoration drama Victory: Choices in Reaction – is also keen to add making contacts is only the start of it, you've got to make a positive and lasting impression on your employers too.
"If people haven't worked with you then they'll ask someone else if they have. You've got to make a hard-working impression good enough that they'll want to meet you and maybe take you on board for something new.
"Keeping calm when dealing with the unexpected is a must and a willingness to muck-in is also vital. These count double for production week; props can break just hours before opening night and by quietly taking the responsibility to fix the situation the show can go on. Basically, the director needs an assistant who shares the workload and doesn't add to it so it's essential to be responsible, reliable and act intuitively without waiting to be asked to do something."
Natasha also advises not being too keen or turning up all guns blazing: "Take a backseat for the first few rehearsals and see how the cast and crew get on with each other. Also try to get a grip on what the atmosphere is like and how the creatives feed off one another. As an assistant director – particularly a new one – you don't want to turn up and put your stamp on something that is someone else's livelihood. Otherwise you won't last long."
"It's all about momentum" Catherine adds. "Make a good impression and then get to work looking for your next move. It's easier to get something riding off the show you've just done because everyone's talking about it – exercise your contacts and call on those you've just worked with."
But what if that momentum fails and you find yourself in a jobless rut? One possible solution is stage workshops and Catherine mentions that those set up and run by professional directors are an excellent way to hone your existing skills and perhaps pick up something new.
"You're all in the same boat and the lesson is actually shared rather than taught: everyone pools their experience so there's much more to feed from. Shop around as well because you can find some that are really cheap – one I attended was just £50 for a 10am until 6pm weekend."
I made a quick web search myself for backstage workshops in and around London and I managed to find lessons in creating stage violence, directing with the Meisner technique and even a masterclass in comedy. All workshops were held by existing directing professionals and group sizes never grew above 30.
Aside from workshops, the web has also helped Catherine in her seven-show span since graduating. One website scheme – the Young Vic Directors Program – offers proactive support for young directors and gives them a wide variety of tools and opportunities.
"You have a profile, jobs are advertised there and even your own CV is put online for others to search. On top of that there are workshops, talks, tickets, forums and message boards; you've just got to keep at it and not get too disheartened."
