Rob Watt; Theatre Director

The 140 Character Revolution...

noreply@blogger.com (Rob Watt) — Wed, 02 Jun 2010 14:48:00 +0000

I have to admit it...

I am a bit of an addict...

I thought I wouldn't get involved...

I thought it would be a fad...

Twitter has taken over my life a little bit more than I would have liked!

However, as much as it has turned into another vice I feel a bit guilty about, it has been extremely useful in my day to day work. Generally, I use Twitter to market my work, get word out there about my current projects and find out about what’s happening in the world. There are though a myriad of uses that excite me; here are just a few...

ADVICE via @webeden
I built my website with a great piece of online software called Web Eden and while it is very easy to use sometimes I want to do things a bit outside of the box. What works so well is that I am able to tweet a question to @webeden and they generally get back to me very quickly. This is quicker than sending an email, less intrusive than having a chat applet open or less stressful than speaking to a technician down a phoneline. The other benefit is that other people who follow either @webeden or me are able to either offer advice or benefit from the advice!

CASTING via @chris_allen
I was recently casting a rehearsed reading that I am directing later the month and I was having trouble in casting one particular part. I sent a tweet out to my followers to see if they could help. @chris_allen replied back (someone who I had only recently started following by chance) and I was able to offer him an audition; and eventually the part. This for me really showed the power of the network!

REVIEWS via @Jakeyoh via @ayoungertheatre
One of the most impressive twittering experiences I have had was when I was directing 2 shows last month. I was aware that I was following @Jakeyoh and he was a reviewer for A Younger Theatre.com. Becuase of Twitter I was bold enough to invite him along to the shows and by chance he was nice enough to come along and write a review of the pieces (click here to read it). Of course he may never have turned up but I didn't have to put much effort into inviting him and the payoff was huge.

I believe that twitter has changes the way I communicate with the world. I now have access to people I wouldn't have dreamed of being able to communicate with. People are more likely to give you 140 characters of their life rather than 1 hour of their time. I am already plotting how to use Twitter more and with two of my shows going up to the Edinburgh Festival this year I have already started to follow people I think will have influence!

If you are interested in using twitter to market your work the here is a great guide to how to use Twitter effectively and respectfully; http://www.ayoungertheatre.com/theatre-marketing-twitter/

Follow me here (@wattnot)

A Casing Study!

noreply@blogger.com (Rob Watt) — Fri, 28 May 2010 08:13:00 +0000

A few months ago I was asked to be a case study for the Stage Jobs Pro website and bless them they have published it... Below are the questions they asked and what I answered...

Question 1: What is the most rewarding aspect of working as a Director?

Bringing a wide range of people together to work on a unified project. I work a lot in the community and I work along side professionals and non-professionals giving them a voice. I love telling stories and this role enables me to do just that.

Question 2: What are the key skills required to be an effective Director?

Empathy; leadership; to be able to listen (LOTS); to see the bigger picture; to be able to negotiate; to have creative solutions to complex issues; Originality; Inspiring and passionate; Trust and faith in his or hers crew’s abilities and talents; Previous experience as director and other roles in production; Objectively open to other people’s ideas/points of view but absolutely, unwaveringly certain of their own; Tactful; gives criticism in a constructive way; Fun to work with; Focused on the project; not easily distracted; Always has a good few more projects ready to go when this one is finished...

Question 3: Do you see your role as a natural step on a career ladder, and if so what is the next rung?

In my experience the role of director does not have a natural linear 'ladder' - it is about navigating your way through work experience, networking and grabbing oppertunites when they arise. I am currently balancing my community work with more professional directing. This means I am needing to get myself recognised in different circles...

Question 4: How did you work your way into your current role?

I took a quite conventional route; I graduated from Leeds University in 2001 with a First Class Honours Degree in Dramaturgy and went on to work for Dacorum Borough Council as an Arts Education Officer. I then became the Projects Manager at the Hackney based Immediate Theatre in 2003 after which I managed the BAFTA awarded ‘L8R’ project in 2007. Since returning as the Associate Director at Immediate Theatre in 2008 I have headed up the development of the Education Team and deputises the Artistic Director in developing and sustaining the company. Alongside this rather conventional route, I have a varied freelance career where I work with circus performers, new writers, radio and site specific projects. This balance give me such a buzz; a balance between participatory theatre and theatre direction...

Question 5: How much do you think networking helps towards landing a job in the industry?

Some of the biggest successes I have had have happened as a result of relationships that started simply because of chance encounters with new people who were met unexpectedly along the way. Regardless of the situation, rubbing elbows at an industry event, or worse, waiting for hours for a delayed flight, these unexpected meetings. In short networking and marketing yourself (however much I hate it) works!

Question 6: Do you think you will be working in the industry in the next five years, and if so in what capacity?

I will definitely be in the industry in the next 5 years. My plan is to continue to tell stories work with writers and designers to create inspiring, significant and provocative theatre. I am excited at exploring what theatre has to offer the world in the next 5 years.

Question 7: Please describe what a typical day working as a Director might contain?

Is there ever a typical day? One day I am working with young people who have been excluded from school enabling them to tell their stories to their teachers to another day where I am in a meeting with a writer looking at rewriting scripts - to a day where I am in the rehearsal room with actors... The list goes on!

Question 8: Have you done any additional training courses to further your career?

I am part of the Young Vic Genesis Network. Since 2003 the Genesis Foundation has made a substantial commitment to the Director’s Program and their support currently focuses on the Genesis Directors Network and the Genesis Fellowship. I have been part of the Network for 3 years now and have access some amazing workshops and opportunities.

Question 9: How important is working for free at the beginning of your career?

I wouldn't say it was critically important to work for free; if you are able to work for money then all the better. What is important, like with any job, is to gain experience - lots of it... Learn from people you respect. Learn from directors who are different to you, learn from networks...just keep learning...

My stage Job Pro Profile...

Assistant Director; NOT Assitant to the Director

noreply@blogger.com (Rob Watt) — Wed, 26 May 2010 16:43:00 +0000

Currently, I am in the privileged position to be working with two assistant directors on two of my current projects.

Now I haven’t had the most experience of working with assistants but my experience with working with them so far has been wonderful. They have enabled me to focus on the vision of the production more; they become a vital sounding board for ideas and help to focus my thoughts when they all get tangled up!

In order for me to find out how and why I use assistant directors I drew up a 'beginners' guide to what and AD job description would entail... So here it is!

An assistant director (AD) keeps a production running smoothly, particularly in the director's absence. A person in this position is responsible for being at every rehearsal and meeting and for filling in for the director when his schedule requires him to be in two places at once, such as at a rehearsal with the cast and at a production meeting with the technical crew.

Pre-Production Duties

Before the production is cast the assistant director must read through the script for the play and become familiar with its technical needs as well as the director's vision. The AD may help research items from the time period of the play or other details to make the production more realistic. Through meetings with the production staff, such as the producer and the technical director, the AD assists the director to make sure all administrative duties are taken care of, including cast and crew contracts, insurance contracts and venue rental fees and schedules, if applicable. During auditions, the AD provides a second set of eyes and ears so the director can discuss particular actors with the AD and make appropriate casting decisions.

Rehearsal Duties

During rehearsals, the AD and the stage manager often share the duties of making sure all of the director's decisions and notes are written down. While the stage manager generally takes notes regarding the physical needs of the play, such as where the actors move and stand, the AD will often note the broader needs, such as additional staff or meeting space needed. The AD may also take actors who are not in a scene off into a separate space to rehearse, guiding the actors toward the director's vision. Alongside the stage manager, the assistant director is responsible for making sure all needs get communicated to the appropriate people, including acting notes, technical notes and schedules.

Production Duties

Once the play has opened, the assistant director may not have any official duties, as the show is officially handed over to the stage manager at that point. However, many productions use stage managers and assistant directors almost interchangeably, so the AD may be asked or required to take notes on missed lines or assist with backstage cues to ensure actors enter at appropriate times.

Other Responsibilities

Although not generally a part of the AD's official duties, the assistant director in a theatre production often takes care of the little things that make the director's life easier, such as getting her coffee, tea, water or food and following up on e-mail communications the director does not have time for. Preparing the stage for rehearsals and helping clean up afterward may also fall to the AD. The AD, like all cast and crew members, may be asked to assist with promotional efforts, such as distributing posters and fliers for the show.

However I am very clear that they are Assistant Directors and not assistants to the Director!

This post is dedicated to my Assitant Directors Sally Pembrooke & Paul Taylor-Mills

Are you signed up?

noreply@blogger.com (Rob Watt) — Wed, 19 May 2010 12:26:00 +0000

I have decided to trial a new way of contacting people. Every month or so I will be sending out a newsletter of my current and upcoming work....also anyone who signs up to the newsletter will get ticket offers and prizes along the way!

So what are you waiting for? Go sign up!

PROSTITUTION

noreply@blogger.com (Rob Watt) — Mon, 17 May 2010 15:45:00 +0000

I am currently in development for a new show with Barefaced Theatre Company and need your opinion... It is all annoymous so go be honest!

Thanks...

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REVIEW

noreply@blogger.com (Rob Watt) — Sun, 16 May 2010 22:15:00 +0000

The lovely people at A Younger Theatre.com came to see Laundry and Bourbon & Lone Star by James McLure (produced by Madison Theatre co) and have reviewed it. I think that the review speaks for itself so I will copy in it entirety...

www.ayoungertheatre.com

In a city saturated with theatre, how do you go about selecting what you see? More to the point, how do you go about seeing something which is a) value of money whilst by) delivering high quality theatre? Naturally we rely upon the most prominent of theatres to deliver this to us, but as I discovered, sometimes the best of the theatre can be found in the most unlikely of places.

Laundry and Bourbon and Lone Star by James McLure are being presented as the theatre debut of Madison Theatre Company, a young and vibrant company who ‘aim to tell great stories in some unlikely spaces’, well they certainly don’t lie – a function room in a basement of a hotel is hardly where I expected to see such a talented group of performers deliver an outstanding night of theatre.

I actually can’t remember the last time I felt such an electric performance by a new theatre company in such a small space. The Brook Green Hotel basement is the most unlikely place I expected to see such high quality drama, but if Madison Theatre Company keep it up, I might just be coming back for more.

James McLure an unknown writer here in the UK has in his two short one act comedies created an essence of what life is like in suburban America. In Laundry and Bourban we see Elizabeth (played by Claire Lyons) and Hattie (played by Charlie Walker-McClimens) going about their daily lives on a back porch attempting to survive under the heat of the sun.

McLure’s text is wonderfully written that without much effort we are transported instantly into the lives of these two characters. Both Lyons and Walker-McClimens under the direction of Rob Watt are every bit of the housewives they portray. From the folding of clothes, to the constant playing with their hair and dresses to cool themselves in the heat – they represent everything about American wives with wonderfully simple acting.

Despite the story revolving around Elizabeth it is clear that Walker-McClimens reigns supreme as Hattie. Her flapping and frolicking around the small stage space brings the brilliant comedy to life. Watt’s direction allows for her to portray a busy housewife with children who are causing chaos on the other end of the telephone brilliantly.

What is so delightful in Laundry and Bourbon is the sheer elegant acting with the McLures text. Lyons’ Elizabeth is controlled and grounded, hinting not only to the humour of her life but of the tragedy towards her husbands sleeping with other women. Lyons is captivating and twists the direction of the story with the developments in her character, in one case, her pregnancy, with ease and coolness. Notable praise is also justly called to Annabel Topham as the slightly pompous but completely out of her depth, Amy Lee.

Contrasting completely to Laundry and Bourbon comes Lone Star, this time portraying the male counterparts to the females in the first story. Whilst the story isn’t as well developed as the first half, Lone Star makes the whole night at the Brook Green Hotel a treat of a night, and confirmed my initial suspicion that Madison Theatre Company are to a troupe to keep a firm eye on for they are going to be bursting into the fringe scene with energy worthy of the west end.

Back from Vietnam we see the drunken figure of Roy (Terence Burns) discussing life, his war experiences and his most highly treasured thing in the world…. no not his wife Elizabeth, but his car to his brother Ray (Charlie Carter). This brotherly pair put the world to right, if a little simply over a few bottle of beers and the stars above them. Carter as the simple minded Ray is wonderful, capturing every detail about a juttering man not quite confident nor sound of mind. In contrast Burns as Roy is the masculine alter-ego of his brother, he is firm, controlling and in the intimate space of the stage he is scarily violent.

As Cletis the husband to Amy Lee, Liam Bewley is wonderful, complete with enormous sweat patches under his arm, his confession that he has both stolen and crashed Roy’s car is comical and tragic. Yet it is nothing compared to the reaction that Burns gives as his character finds out Ray has been sleeping with his wife multiple times. Lone Star suddenly becomes electric – the small audience gasp in disbelief then slowly there is an uncomfortable silence before the rage is delivered in violence. Simply superb theatre!

Rob Watt directing Madison Theatre Company’s first performance has allowed for a subtle yet completely compelling and magical creation of American lives portrayed through theatre to take place within such a small space. It is wholly believable and even the out of place plasma screen on the wall of the function room doesn’t break for the outstanding direction and unraveling of narration and story.

My only hope is to see that this work of sheer brilliance gets the audience it deserves and I, for one will be eagerly waiting for the next adventure of this truly remarkable group of performers.

Laundry and Bourbon, and Lone Star as part of the theatre debut of Madison Theatre Company performed at the Brook Green Hotel 5th – 8th May. For more information on Madison Theatre Company, see their website. Photos by Hermano Silva, see more at www.thegentleman.com.br

Radio Silence

noreply@blogger.com (Rob Watt) — Sun, 16 May 2010 22:01:00 +0000

Sorry for the radio silence but I have been creating some wonderful theatre with a wonderful new theatre company.

Madison Theatre Company are a young and vibrant company who ‘aim to tell great stories in some unlikely spaces'. I have had the pleasure of working with them directing their UK debuts 'Laundry and Bourbon' and 'Lone Star' both by American writer James McLure.

A couple of weeks ago we played to a sell out audiences and I had a blast. This experience has reignited my blogging itch! So you will be hearing from me a lot more from now on!

I have lots of things in the pipeline so lots to look forward to!

R

Jacqueline Abrahams

noreply@blogger.com (Rob Watt) — Thu, 04 Feb 2010 12:46:00 +0000

My good friend Jacqueline has just launched her own website and I wanted you all to know about it.

http://www.jacquelinefrancesabrahams.com/welcome.html

Jacqueline is a very talented and considered production designer for film and TV. I have worked with her on a show a couple of years and we are currently plotting our next incarnation (more of that to come soon). Go check out her latest manifestation; her website!

Showreel 2010

noreply@blogger.com (Rob Watt) — Wed, 13 Jan 2010 11:58:00 +0000

I have just updated my showreel for the new year... Take a peek...

Clowning Around

noreply@blogger.com (Rob Watt) — Wed, 13 Jan 2010 00:05:00 +0000

This is the fabulous Varekai's Clown Act, with Mooky Cornish and Claudio Carneiro!

I have always loved clowns from Charlie Chaplin to Laurel and Hardy to James Thiérrée

These 2 made me laugh so much...

“Fear makes the Wolf look bigger...”

noreply@blogger.com (Rob Watt) — Tue, 12 Jan 2010 13:46:00 +0000

Panphobia (pan-fo'be-ah): The fear of everthing; vague and persistent dread of the unknown

Back in 2008 I was privileged enough to work with Universal Citizens co directing a new site responsive show call Panphobia which played at Stratford Circus. They have now been successful in developing the show further and will be performing it at The Lost Theatre between January 26th to February 14th 2010. If you want to experience and meet strange, surprising and perplexing characters... if you want to indulge in their idiosyncrasies and uncover their desires and fears... be warned, you may discover what you are truly fearful of...

To book tickets CLICK HERE

Here is their amazing trailer for Panphobia 2010...

Universal Citizens specialise in devising original physical theatre, drawing from thier research and unique experiences, to explore the most prevalent and immediate topics in society through performance. They are a diverse, multi-ethnic ensemble of professional and young actors who have worked together for the last 4 years. Recent productions include Apocalypse Wow!, Citizen Ship, and The Alternative Nativity. They have performed at the Unicorn Theatre, Trafalgar Square, Stratford Circus, Paradise Gardens, The National Associate of Youth Theatre and represented Britain at the International Festival of Youth Theatre in Tunisia.

If you don't know James Theriee then you are missing a treat....

noreply@blogger.com (Rob Watt) — Fri, 08 Jan 2010 16:42:00 +0000

James Thiérrée is the acrobat, clown, actor, writer, theatre director. He is the son of acrobats and clowns Victoria Chaplin and Jean-Baptiste Thiérrée, the grandson of great actor Charlie Chaplin and the great-grandson of playwright Eugene O'Neill. He started performing aged 4 in his parents' company, "Le Cirque Imaginaire" and later "Le Cirque Invisible".

His theatre productions have been staged the world over, from Sadlers Wells in London to the Brooklyn Academy of Music in New York, to rave reviews.

His mother designed La Veillée's decadent costumes.

James Thiérrées fourth full-length creation, Raoul (a solo theatre piece blending contemporary circus, movement, music and poetry) was co-commissioned by the Barbican Centre and made its debut in London in October 2009.

James Thiérrée's theatre works:
"La Symphonie du hanneton"(1998),
"La Veillée des Abysses" (2003),
"Au Revoir Parapluie" (2007),
"Raul" (2009).

Macbeth by Cheek by Jowl - Barbican Bite 2010

noreply@blogger.com (Rob Watt) — Wed, 23 Dec 2009 00:41:00 +0000

Macbeth

Cheek by Jowl

18 March 2010 - 10 April 2010

This looks amazing... I will be booking my tickets ASAP!

"Macbeth is a great tragedy of the imagination. A man and a woman, bound together in ambition are destroyed in a welter of blood. Cheek by Jowl’s latest work conjures a world of witchcraft, ghosts and apparitions in an hallucinatory experience of sound and shadow.

Declan Donnellan and Nick Ormerod’s production strips the play back to its devastating heart, exposing Shakespeare’s shocking insight into the cost of power."

For more information please goto the Barbican website: www.barbican.org.uk

An Eternal Day

noreply@blogger.com (Rob Watt) — Tue, 22 Dec 2009 00:11:00 +0000

This video was sent to me from the fabulous Charley Arrowsmith an actor who was in my latest play. She is signing a previously unreleased song from The Unbending Trees; very simple yet very beautiful...

Lyrics and music: The Unbending Trees (Kristof Hajos)
Video: Caroline O’Neill with Howard Hardiman
BSL: Charley Arrowsmith

Charley performed as Sarah in 'Beat Them/Join Them' written by Jamie Beddard. For more information please visit www.robwatt.co.uk

Immediate Theatre Website

noreply@blogger.com (Rob Watt) — Sat, 19 Dec 2009 22:41:00 +0000

Immediate Theatre have just launched their new website and it is great!

Go check it out at www.immediate-theatre.com

I am also on it; so go check me out here...

http://www.immediate-theatre.com/about/team_detail/rob_watt/

My Vimeo Account

noreply@blogger.com (Rob Watt) — Sun, 13 Dec 2009 16:22:00 +0000

If you have not heard of Vimeo before it is a great video site that you can post your HD creative videos... Its Fab!

Click here to check my profile page out.

ROB!

Cloud Swing Expriment

noreply@blogger.com (Rob Watt) — Sun, 13 Dec 2009 15:01:00 +0000

This was an experiment to explore combining a Cloud Swing Performance with text. This was performed at Circus Space in December 2009 as part of their Winter Scratch Night.

Let me know what you think.

Performed by Liz Wickham

Written by Vickie Donoghue

Directed by Rob Watt

My NEW Blog

noreply@blogger.com (Rob Watt) — Fri, 11 Dec 2009 17:48:00 +0000

Welcome to my new blog.

I am still tightening a few screws so while you wait for me to post something check out my website...

Click here to visit my website

www.robwatt.co.uk Fill out your e-mail address to receive my newsletter!
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