Direction

Like most keen dramatic beans, my love of theatre first drove me to perform on stage, but eventually, I fell in love with lighting. Then costume. Then soundscape. And all the while, without really knowing what the word meant, I was flirting deeply with Dramaturgy. Inevitably, I was spellbound by all that Direction can be. I have developed a particular interest in directing work focussed on giving voice to marginalised and under represented voices and stories. Over the years, I have directed in main stage, fringe and school theatres, including The Fairfax, La Mama & The Courthouse, St Martins Youth Theatre, The National Theatre, The Guild & Union Theatres, and The Open Stage. I delight in presenting new Australian work and reframing traditional narratives. Here’s a link to an interview about my how my directorial and teaching experiences combined. Through the theatrical mentorship program I founded at Mentone Girls’ Grammar, I have had the pleasure of working as director alongside a brilliant array of creatives, including:

Tom Backhaus - Sound Design
Yvonne Borland- Makeup and Hair Design
Lorin Clarke- Playwright
Emily Collett - Costume Design
Anthony De Masi- Magic and Special Effects
Siohbhain Geaney- Lighting Design
Martelle Hunt- Costume Design
Mischa Long - Set and Puppetry Design
Paul Lim - Lighting Consultant
Erin O’Brien- Makeup and Hair Design
Bron Pringle - Lighting Design
Lucy Stewart- Playwright
Rainbow Sweeney - Set Design
Steve Ward - Sound Design
Kat Webster- Hair and Makeup Design

I have also worked alongside some of Melbourne’s major theatrical services and organisations including:

Here are some lovely creatives waxing lyrical about our work together over the years:

‘Claire’s directorial abilities are exceptional. Her knack for finding deeper textual meanings along with their keen eye for staging details are what makes working with Claire a truly amazing journey.’ - Siohbhain Geaney- Lighting Designer and Production Co-ordinator | Chunky Move.

“Claire is an exceptional artist, educator and leader. He has a down-to-earth and pragmatic practice that encourages artistic risk while prioritising participant safety. Claire creates an environment where everyone can be heard, seen and is free to express themselves. Claire is an invaluable asset and I feel privileged to have worked with them on multiple occasions.” - Tom Backhaus, Composer, Sound Designer, Producer.

Blocking curtain call- Peter Pan
Storyteller's chair- Peter Pan
Ash Hughes' crocodile- Peter Pan
George as Deer- The Lion, the Witch and the Wardrobe
The Reveal- The Lion, the Witch and the Wardrobe
Hazza and Mina as Mr. and Mrs. Beaver- The Lion, the Witch and the Wardrobe
Pim persuading Lizzy- Caged Birds
Tara- Peter Pan
Liv and Alice- Alice
Bartok- Alice
Set Design- Alice
Emma as Mad Hatter- Alice
A cluster of Creatures- Alice
Assistant Director Em and I- When the Stars go Blue

Producing

Initially, I underestimated the joy in the role of Producing. I couldn’t see the fun in it at all. It seemed to me to be about numbers and foyers, which are two of the aspects of theatre making I find the least interesting. But I now understand the potential of, well, basically curating talent. I love sitting at the outset of a show, envisaging how a particular combination of creatives might shape the particular interpretation, or an unpredictable casting choice might create new meaning for an audience. The idea that new voices which may otherwise remain unheard can be given opportunity excites me no end. I also keenly source sponsorship, funding and underwriting opportunities, from all sorts of unexpected, and slightly more predictable sources. I have definitely come to understand that the risk and the reward of producing is really cool. I also love working budgets. I am proud to say that I have never run a show at a loss, even in 2020, when I’d fully braced myself to break that streak. And I am even getting better at foyers…