Subtitled “conversations with women theatre directors”, this new book is a treasure trove of the various forms of practice when running a rehearsal room, but also allows a glimpse into who each interviewee is.
As a committed theatre-goer and supporter, I have occasionally found myself ‘in the room’ where shows are explored and created. Reading Waugh’s compilation of interviews, it is clear there are as many way to be a director as there are shows to put on.
We may think of the rehearsal space as the place where table study of the text happens, but surprisingly, few of these women work in that way. Often, it is movement, games, and exploration that allow a show to take shape.
The place of the writer is discussed in some of the chapters: letting a living playwright in; not being afraid to change, and revise the works of the dead. It was particularly exciting to read of the way opera is evolving.
Who is the director, and what does the role mean? It might be supporting the team, but without being a therapist. It might be drawing out a difficult performer, while having the confidence to lead.
Waugh has assembled a cast of twenty-four practitioners, with a nod to diversity – you will find women of colour, trans women, disabled women here. All have achieved success in their fields.
There is a tacit undertone of being a woman in theatre, with respect, imposter syndrome, and issues around juggling family and career. Some of this can be applied to the wider field of management, some is unique to leadership in the arts.
Running The Room is a book of both reflection and passion. It talks about safe spaces, financial challenges, what texts actually mean and whether it really matters. It talks about vision, interpretation, and challenges.
Twenty years ago, I read a book called Performing Women, edited by Alison Ockley (still well worth tracking down), which interviewed 27 theatre performers about their practice and experience.
Running The Room feels like a close companion, and in returning to Ockley’s title it is interesting to see what has changed while much stays the same.
Waugh’s book is an absorbing read, accessible in its structure yet of use to professionals working in theatre. It is not fixed on the female or feminist experience, but yet has much to say in both areas.
A companion book on women technicians may be an interesting proposition. As it stands, I learned a lot from these inspirational creatives and will approach their work with a better understanding of what’s behind it.
I’ll leave the final word to Rachel O’Riordan, artistic director at Lyric Hamnersmith: “Theatre is such an ephemeral thing. You have to honour the fact that, unlike with a novel or painting, you’re probably not going to see it ever again.”
Running The Room is published by Nick Hern Books and available now. There is a pack of postcards with quotations available with every purchase.