My RTYDS Intensive Residency & Assistant Director Experience on Swim, Aunty, Swim!
My name is Sarah Githugu, an emerging writer/director from and based in Coventry. As a lover of storytelling forms, I’m passionate about new writing and telling nuanced stories that challenge societal norms and uplift marginalised communities. I’ve worked on various projects such as my directorial debut for The High Life (Barons Court Theatre), Age is Revolting as part of NT Connections 2024 (Worcester Theatre), and Big Aunty (Belgrade Theatre).
Three months ago, I started my RTYDS (Regional Theatre Young Director Scheme) Intensive Residency at Belgrade Theatre, Coventry. During this residency, I was able to learn the ins and outs of a producing theatre while working as the assistant director to fellow RTYDS alum, Madeleine (Maddi) Kludje, on Swim, Aunty, Swim!
Starting the residency, I had no idea what to expect. I knew what I wanted to get out of the placement – questions/answers, objectives etc. – but I had no idea what would happen. Despite this, I intended to use the placement to stay true and authentic to myself – this was a feeling that has been entirely new to me in the early stages of my career.
Like many, I have struggled with imposter syndrome and understanding where, who, and what I want to be within the creative industry. As a freelance artist, I’ve struggled to balance between having time to develop my creative practice and trying to stay financially stable. However, the placement eased some anxieties and gave me time to develop in myself.
So, I set the intention to use the residency to lead, not from a place of fear, but from authenticity, and lean into the discomfort, knowing that I’m safe to discover and learn.
The residency has been as it’s titled. Intense. But I challenged myself.
As assistant director, I learnt how a production can be technical and strategic. As a director, you are always working to serve the story and have to see the vision before it is performed. Directors hold the story long before the rehearsal room and need the right people to support fulfilling the vision.
The various roles involved in a production are essential and valuable in creating the atmosphere for audiences to be fully engrossed in a production. How do we show Coventry audiences we’re a swimming pool? Or in an underwater spiritual world? Or at Nine Nights in Jamaica? Or a family-owned restaurant?
The various people – stage management, movement, sound, lighting, production – involved help the overall production to run smoothly. The whole creative team helps the director to create the world through set, lights, and sound as well as troubleshoot problems as soon as possible. For example, on Swim!, we were lucky to have the actual set in rehearsals after the first week. This was beneficial for the performers but also allowed us to reconsider the difference inches between pool steps make for performers’ safety, comfort, and ease.
Throughout the residency, I challenged my directorial and dramaturgical voice to focus on clarity. And I learnt clarity is people-specific. Whether noting performers during Swim!, supporting Belgrade Ensemble, or script reporting, I learnt to take out my subjective opinion and focus on the evidence I’m provided with. I learnt there is value in knowing your company because when you know how they work, you communicate in a way that best supports them and the work.
Most importantly – and the number one thing I must stress – I learnt I had to prioritise self-care.
In rehearsals, Maddi would make time for quick company check-ins. She encouraged and held space for us as a company to honestly share how we were feeling. Those check-ins were instrumental in providing a support system that reiterated the importance of holding and respecting people – and their emotions – in the rehearsal room without internalising them.
Additionally, outside of rehearsals, I have scheduled 1-to-1s with Belgrade Associate Director and another fellow RTYDS alum, Jay Zorenti-Nakhid. As a reserved individual, this space allowed me to reflect and ask questions at my own pace. These check-ins held me accountable. Outside of the theatre, I challenged myself to reach out to friends/family and make plans on days off. I journalled, read and watched plays, walked around town during lunch breaks, or went to the gym as routines to remove myself from work. There is only so much creativity you can unlock in isolation.
I discovered by incorporating self-care in the residency, my intention extended beyond a career objective and into the personal.
The residency was challenging and by no means perfect but it was valuable. I was anxious, excited, tired, inspired, overwhelmed, and frustrated at various points during my residency at Belgrade. But I was supported and held in the discomfort. The examples above are only a glimpse into what I’ve learnt. I learnt a lot of what I want to use moving forward and a lot of what I don’t want to use in my practice. I learnt artistry cannot and should not be divorced from the personal.
Overall, this residency has helped refine and reaffirm the type of writer, director, and overall artist I want to be.
Find out more about RTYDS (Regional Theatre Young Director Scheme) here.
