When I was young, I had a very clear picture of what my creative life would look like. I imagined strolling down Hickson Road and entering the stage door at STC for work.
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Every creative mother knows the feeling of being split in two: pulled towards the work that lights her up, and the child who needs her completely.
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The director of my play The Culture succinctly explained to me that people often spend time at either end of a spectrum: with one end being passive, and the other assertive, and forget the sweet spot is right in the middle – and that is assertive.
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There’s a kind of niceness that gets praised in creative spaces. It looks like professionalism. Being easy to work with. The person who doesn’t rock the boat.
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When I wrote my play and decided to tour it, I hadn’t quite considered that I would have to lead a team. Touring a play is one of those experiences that looks glamorous from the outside and feels like organised chaos on the inside.
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Listen, I get it. Rejection is brutal. And in this field, it’s relentless.
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For years, I treated auditions like they were a test. An exam. Something to get right.
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