Directing
So, you want to get into Directing?
An interview with Theatre Director, Jeremy Herrin
Jeremy Herrin trained as a theatre director at both the National Theatre and the Royal Court. In 2013, Jeremy replaced Rupert Goold as Artistic Director of Headlong Theatre.
In 2007, he directed Polly Stenham’s award winning That Face at the Royal Court, which was later transferred to London’s West End, where it starred Lindsay Duncan and Matt Smith. In 2009, Jeremy directed Tusk Tusk for which he was nominated for an Evening Standard Best Director Award.
In 2012, he directed This House, written by James Graham, at the National Theatre and was named as one of the Stage’s top 100. In 2014, he directed the critically acclaimed adaptations of Hilary Mantel’s novels Wolf Hall and Bring up the Bodies for RSC and was nominated for an Olivier Award for Best Director. Jeremy most recently directed Noises Off at The Garrick Theatre and The Visit at The National Theatre.
These are merely a small selection of the numerous productions that Jeremy has directed in his career to date.
I would like to thank Jeremy for agreeing to do this interview with me; I hope you find it helpful! You can find out more about Jeremy on his instagram @jerherrin
How did you work your way up to having a career as a theatre director?
Went to drama school to understand about acting; set up a theatre company; got a job as assistant director at the Royal Court.
How did you seek out opportunities when you first entered the industry?
Didn’t really - just concentrated on being as good a director as I could be.
Where do you find inspiration for your work?
Everywhere. Other directors for stage and film, dance, visual art. But also trying to understand human nature through reflection and observation. Great art and real life is a helpful combination.
What is a common misconception about theatre directors?
That they don’t do anything! It all just magically happens when an actor learns their lines
Had you always wanted to work in the creative industries, or were there any other careers you considered?
Yes; no.
How would you describe your creative process?
Preparation before rehearsal. Attentive casting snd considered creative team appointments. Collaboration in the room. Openness to the best ideas. Realising the point in the process when you need to be decisive. Being transparent about difficult decisions.
What is your favorite aspect of your career?
The deep contact with a range of other artists and theatre workers. Having to find some expertise on a surprising number of subjects. Engaging with contradictions through narrative. People finding the work meaningful is gratifying.
What is the one thing you wish you had known before you embarked on your career as a theatre director?
Nothing really. It’s tempting to say you wish you knew then what you know now, but that’s cheating. The journey is everything and has been exciting and challenging with lots of twists and turns and a load of luck. I feel privileged to be able to do what I always wanted to do.
For you, what is the most difficult aspect of being a theatre director?
Finding time to do all the reading I’d love to do. All the challenges and difficult aspects (ie dealing with complicated people) are the exciting parts of the job.
What advice would you give to aspiring theatre directors?
Work hard to find your own specific aesthetic. Be brave about embracing your limitations. Read, watch and listen to everything. Broaden your pool of collaborators. Get out of your comfort zone. Doing what elevates you, will elevate your collaborators and audience.