24 Director
Director
Transition Tips: Navigating Your First Steps into Canadian Theatre
by Nina Lee Aquino
I always begin with the quote, “Luck favors the prepared.” It truly underscores the importance of preparedness, so don’t wait until you graduate. Nowadays, theatre conservatories and programs are recognizing this and adapting accordingly. In the past, entering a conservatory program meant isolating oneself in a bubble, renouncing participation in activities outside of school. Thankfully, theatre conservatories and programs are moving away from this approach. In the realm of theatre, isolating oneself from life experiences is counterproductive; theatre demands that you immerse yourself in these experiences. By marinating in these experiences during your training, you emerge better equipped and ready to face the professional world, making the transition from training to profession seem less intimidating.
While you’re training, get to know the community you want to be part of, and that includes being an audience member. A good actor is a good audience member; a good theatre artist is a good audience member. How do you know where you want to work if you’re not doing the research on the various places you want to work for? Start building that mental library of artists and companies that inspire you, that align with your own values, so that you can start constructing your artistic journey. So, if Shakespeare makes your heart sing, then do the research. Go to Stratford, go see shows by Shakespeare in the Ruff—experience it all. You’re building your aesthetic sense, your sense of style, and the more you get a surer sense of your artistic self, then the braver you are at seeing and trying new things as well. I also want to encourage students to see everything because you never know what will trigger your artistic inspirations. You think you have this idea in your head that musical theatre is the only thing you ever want to do, and then you watch your first Theatre Gargantua show, and you’re like—“oh, theatre can also be that?”
I consistently encourage young individuals to be specific—when composing your initial cover letter to artistic directors, or when preparing for general auditions with a particular theatre company, the most memorable impression is made when you genuinely understand who you are addressing and what you are discussing. This approach transcends a generic self-presentation. A lack of clarity on why you are a fit for the theatre company renders your letter mundane and forgettable, leading to missed opportunities. In my capacity as an artistic director, I encounter numerous submissions. What makes you distinguishable? When you articulate your aspirations to be part of the theatre company and discuss the type of work you wish to pursue, you reveal a multifaceted image of yourself, allowing me to perceive you not only as an actor but as an artist in your entirety. Inviting me for a coffee isn’t merely an opportunity for you to glean insights about the company; rather, it’s a dialogue wherein you share your envisioned future with the company that you have taken the time to understand. This form of interaction is profoundly rewarding, as I gain insight into your artistic persona, just as you have familiarized yourself with my artistic inclinations and values. The emphasis should be on cultivating relationships rather than accumulating credentials on your resume.
I want to dismantle the negative perception surrounding artists who balance their creative work with a day job. When I talk to budding artists, they often express a sense of shame or embarrassment when they admit, “I aspire to be an actor, but for now, I’m a barista.” I tell them, “Look me in the eyes and own it because this is the reality of the artistic path we’ve chosen.” As an artistic director, my daily responsibilities extend beyond directing. I handle emails, meet with donors, manage databases, oversee budgets, and write grants. While these tasks may seem mundane, they are integral to my identity and artistry. They shape who I am as an artist, and they are as much a part of me as directing is. Just as these responsibilities don’t diminish my role as a director, working as a barista while pursuing acting doesn’t diminish your identity as an actor. Embrace the journey and the hustle, for they are what ultimately define and refine us as artists.
The challenges often arise when a young artist feels compelled to take on any job just to make ends meet. Just as you are discerning in auditioning and selecting artistic projects, apply that same level of scrutiny when choosing your day job. If you find that your job is draining your artistic spirit, don’t hesitate to leave and seek out something more fulfilling. Continue searching until you find a position that aligns with your values and contributes positively to your artistic journey. Remember, your life experiences and your artistry are interconnected; a positive environment in one area can enhance the other. When you’re happy in your day job, whether it be as a server, barista, or librarian, that positivity will carry over into your artistic endeavors. This balance will make you eager to return to work even after completing a theatre project. Strive for this harmonious balance that extends beyond financial stability. Taking care of yourself is integral to nurturing your art.
Just as “luck favors the prepared,” the future of theatre lies in the hands of the relentless and the brave. My advice to emerging artists is to never stop preparing, exploring, and learning. The pandemic has opened up new storytelling possibilities, including virtual stages, demonstrating that theatre artists can make the impossible possible. There is a space for everyone, and if you can’t find yours, create it. Don’t hesitate to ask for help. Measure your success on your own terms, valuing the journey over the destination, process over product, and progress over perfection. Aim to reach the goals you set for yourself, rather than trying to meet others’ expectations. Continuously learn, evolve, shift, and relearn. Strive to improve, just as you would in the most important, most amazing (and yes, challenging at times) rehearsals of your life…with YOU as the opening night.
Pathways
As with many other roles in theatre, there are a variety of pathways into directing. They range from formal training as a director, including an MFA, to transitioning from other areas such as performance. Those who transition will often undertake training in professional settings such as Shaw’s Neil Munro Intern Directors Program or Stratford’s Langham Directors’ Workshop as well as apprenticeships and assistantships.
Regardless of the training path, most will begin directing for the Fringe or other festivals, then with smaller independent companies before moving to larger stages.
In conversation with emerging directors, one challenge mentioned has been a history of the major theatres bringing in directors from other regions rather than giving opportunities for those in their own city. This can make it hard for directors to move into working with larger theatres and higher paying gigs. In Winnipeg for example, historically there were a lot of out of town directors brought in. Many of whom were attached to large shows, co-productions, or were linked with the playwright. There has been a shift to more local directors in the last decade, however the priority at the moment is very much about finding the most appropriate director for each production and diversifying the complement of directors. With a push to produce more stories from the global majority, there is also a need to have directors who can direct a show with an understanding of the cultural lens being presented.
This question of how to foster young artists in each region, also comes up a great deal for actors and designers. It can be hard if you feel you are butting your head up against a closed door or wanting to effect change in an established industry. Finding opportunities and being persistent is crucial, as is finding allies. I’ve heard of emerging directors who have met with Artistic Directors at companies repeatedly to pitch plays, to offer to direct anything, to negotiate directing a reading of a piece in development…anything that might allow them to demonstrate their work.
In the twenty years that I ran an independent company, we were often an initial stepping stone for emerging directors. We were able to give opportunities to less experienced directors by having them helm readings or workshops. We had those transitioning from being a performer direct their first productions. Often the goal was to find the best director to suit each script. We looked at all those who submitted their resumes to see if there was a fit. We also were very responsive to the playwrights and allowed them to request the director that they felt could best bring their script to the stage, particularly when it was a premiere production.
Getting Work
I have past students who are keeping very busy with paid Assistant and Associate directing gigs across the country. They’ve shared that this has been ESSENTIAL in establishing their career as a director, both due to how much they learn from the directors that they work alongside and also in building relationships with a range of artists and companies.
Although the process is not necessary going to be this linear, here are some possible steps:
- Submit your resume to theatres that you want to work with.
- Contact Artistic Directors and ask to meet.
- Look for calls for directors, apprenticeships, assistant director programs and mentorships.
- Assistant Direct, even as a volunteer, both to meet folks and build up your resume.
- Submit to playwright development centres who do readings of new plays and may need directors.
- Invite Artistic Directors to shows you work on in order to showcase your work.
- Direct for the Fringe, community theatre, independent shows, self-produce…
- Pitch a specific play to a specific theatre.
- Connect with directors you admire to see if they can offer advice, mentorship, guidance…
- Keep yourself visible in the theatre community.
- Tell everyone that you want to direct!!
A director’s resume is focused specifically on directing work. Even though it might include other theatre work, especially when you are first building up directing credits, it should start with your directing experience. Here is just one possible template.
In most cases, other than responding to a call for a particular directing program, you would be submitting cold to Artistic Directors or Producers with a strong cover letter and resume. As with the broader advice on getting work, be sure that your cover letter is specific. Why are you approaching this theatre company? What can you offer them as a director and why are you excited to work with them? What is your story? What is your unique skill as a director? Include a call to action at the end of the letter requesting a chance to meet.
For most season-based theatres, they are lining up directors before they announce their season so meetings and pitching will not lead to immediate work. You will be planting seeds as they plan future seasons. However, there are many times when a director will get a call last minute to direct when someone initially in place had to pull out. This is when being at the top of mind is a huge benefit.
Networking Practices
This is definitely one role in theatre that is very dependent on building relationships, on word of mouth, developing a reputation, and proving yourself. In mainstream theatre, the director is a key figure with a great deal of artistic power. Theatres and producers need to know that they can trust this person to create a strong artistic product. They also need to be assured that a director can lead the process in a way that supports the whole team and avoids conflict. Networking is a way of allowing those doing the hiring to get to know you and trust you.
It is good to note that the networking isn’t just about getting to know Artistic Directors and Producers, but also others who may help you get a foot in the door. Playwrights often will advocate to work with directors that will best serve their work. Other directors can bring you in as an assistant and also recommend you to others. Just being someone folks want to have in the room can lead to opportunities. Being visible at openings and theatre events is a great start. People will see you are passionate and committed. Introduce yourself to those you want to work with. Ask them about their work. Knowing what a playwright is working on might illuminate a common interest or aesthetic. Hearing from other directors about their work will help you to expand your understanding. Plus, being visible keeps you top of mind when discussions about who to engage take place.
Again, for most emerging directors, this is not something that happens overnight. It will take time. You may also discover that directing at the big theatres is not what you want and instead will find a niche with independent companies, creating your own projects, self-producing, and even starting your own theatre company as many directors do. More on that in the Theatre Maker track.
CAEA for Directors / Contracts
As noted, when you are starting out you are likely going to be working with smaller, independent companies or doing Fringe shows. If there is a producer or company hiring you, rather than you producing the work yourself, make sure you have a contract in place. I will reiterate again the importance of having a contract to prevent any miscommunication. Be sure to negotiate one that outlines clear expectations. With smaller companies sometimes the director ends up doing more than traditional directing duties so it is important to know if there will be designers, a production team, and what your role might be in promoting the show. With community theatre or really small companies doing the Fringe, they may not have the professional experience to understand the role of the director. They may not have a stage manager. They may have others in the company who will give their own two cents about how the play should be directed. In many Fringe festival scenarios you might simply be receiving an equal share of the box office alongside the actors and production team. It is also good to note that some experimental companies work in a very different model and this may not align with how you’ve been trained to work. This can be exciting and a great opportunity to discover how you want to work, but you just need to know. Asking a lot of questions before you accept and then making sure the information is written in the contract is valuable. As long as you know what you are getting into, you can decide if it is reasonable for what they can offer in return.
Once you get to the point of being offered a professional gig with a PACT company, you will need to work within a CAEA contract and explore becoming a member. As a director, you are eligible to join on your first Equity contract that is part of a negotiated scale agreement (i.e., Canadian Theatre Agreement, Independent Theatre Agreement, Stratford Festival Addendum, Equity Second City Agreement). However, a contract under an Equity engagement policy (i.e., the DOT Policy, Indie 2.2, or Festival Policy) would not make you eligible to join. Working independently, you can build up a body of work to qualify for membership. For more details go to CAEA. Your work as a director under an Equity contract is then beholden to the outlined agreement, it is good to familiarize yourself with these agreements and pay scales.
As with most professional contracts, a director’s fee is based on the size of theatre. For example, in 2023/24 the minimum fee for directing at Shaw is $17,188.50. For directing a workshop with a public reading at a Canadian Theatre Agreement (CTA) level the minimum rate is $894.50 per week. For directing at the smallest of independent theatres under the Independent Theatre Agreement (ITA) the fee is $5,074.25 plus a royalty of at least 3% of the minimum fee for each week of performance. You can see the full list of rates for the Canadian Theatre Agreement or the Independent Theatre Agreement along with all other agreements on the CAEA website.
Resources/Recommended Readings
There are as many different types of directors as there are people directing. Although the intent of this book is not to share knowledge about how to direct or how to be a good director, that is of course a crucial part of being hired and having a successful career as a director. There are a list of directing books in the resources page.
In particular, I would recommend watching videos of the 2022 Siminovitch Prize nominated directors who display a wide range of styles but also responses to the current shifts in practice.