Learning by doing - by Beccie Allen

During drama school, I knew I wanted to make my own work, but what?

By the time I’d figured it out - BAM, the pandemic swooped in. I trained at LIPA, a school who nurtured us to be artists, to try things out, to make our own work whilst you had access to free rehearsal spaces, willing actors, technicians and designers. Sadly I couldn’t take advantage of these opportunities anymore. 

Beccie in rehearsals for I Am No Bird

I had friends who’d aimed towards directing but fell at the first hurdles due to financial and social barriers. And so slowly they gave in. I assumed it would be the same for me. Stick to acting, you’ve come this far, maybe you can pull that off…  

So when Stute were looking for a new graduate to join their team as an assistant director, I leapt at the chance. IT WAS PAID. How many opportunities like this, for working class northerners, come along exactly? 

I first came to rehearsals nervous, imposter syndrome kicking right in. Who was I to be taking this opportunity? What did I have to offer? You haven't a clue what you’re doing…

Emma, Beccie and Sophia in rehearsals for I Am No Bird

It soon drained away, Soph’s passion and warmth is infectious. She did it, and so could you… 

I learnt what a juggling act directing is, working impulsively to get the best out of people and keep the ball rolling whilst never forgetting an audience's experience. The road to this production didn’t run smooth (damn you covid!), but this helped me learn from Lisa how to keep a calm head, how to help everyone feel supported and how to restructure plans when other forces thwarted them. ‘Hold on tightly, let go lightly’. A phrase shared in drama school, I never understood til now. 

I learnt from this process that it's okay not to be perfect at the beginning, all theatre makers learn by doing. 

During the end of my time with Stute I realised…I’d been in a rehearsal room with all northern women and how safe I felt there. Not that I take issue with non northerners, but it’s a rarity in my experience. I could be my authentic self, using my own voice with ease. Only recently in an audition I was asked to tone down my accent despite it being requested so that people could ‘understand’. 

I think it’s a testament to Stute’s hard work that the tour was sold out. It proves that theatre doesn’t need to exist within a building, doesn’t have to be created by the ‘greats’ (whoever they are), nor does it need star casting and it doesn’t need to be Kes (not again!) or other established plays for northern/working class audiences to engage. All you need to do is create work that piques interest, take it to them, and charge affordable ticket prices (yes I’m scowling at you Cabaret…) and folk will turn up. 
So thank you to Charlotte, Emily and Anne Bronte for paving the way and to Stute for carrying the flame.

by Beccie Allen

Actor and Theatre-maker