Bard on the Beach’s Directing Apprenticeships offer emerging and early-career directors the opportunity to work alongside our directors and creative team to support the development of our Season productions.
This Season, we were delighted to welcome Anjela Magpantay, Ming Hudson, Daniela Atiencia, and Amber Lewis as our 2024 Apprentice Directors. It’s been a privilege to see these incredible theatre makers develop their craft while also bringing their unique talents and perspectives to our 2024 Season productions.
Recently, we had a chance to chat with Anjela, Ming, Daniela, and Amber about their time as Apprentice Directors. Read on to learn more about their Bard experience, what first drew them to directing, and where they’ve been finding inspiration lately!
Anjela Magpantay, Twelfth Night
What did you enjoy most about being an Apprentice Director on Twelfth Night?
The brilliance of the production team. I enjoyed the collaborative conversations between the creative team. I got to witness the top designers in the country create literal theatre magic with each other. To hear a conversation of ideas from day one and see it materialize underneath the tents a few months later was such a satisfying experience.
How would you describe this production of Twelfth Night?
It is a rollercoaster with the best ride music. It has moments of wonderful suspension, thrilling descents to the unknown, a climb to the top with your friends for that satisfying view of Illyria, a fantastic circus of the most curious characters and relationships. From the top, you will fall in love.
What first drew you towards directing?
I was drawn to directing because I often wanted to see the play from a different point of view when I was acting in it. I felt I was able to understand and tell the story better if I was sitting in the audience during rehearsal. With encouragement and support from various mentors and colleagues, I was able to follow my bliss in directing. The theatre is a place where I can see my dreams come true and, even better, to have a creative team and an audience to help complete the vision.
Where have you been finding inspiration lately?
Veda Hille’s songs, Munish Sharma’s dance moves, the invisible work of understudies, the matriarchal leaders in our theatre community, emerging artists’ relentless energy in creating art in this city, and theatre youth programs that change children’s lives for the better.
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Ming Hudson, Hamlet
What did you enjoy most about being an Apprentice Director on Hamlet?
It was an absolute privilege to be the Apprentice Director for Stephen Drover on Hamlet. Watching him work was truly a masterclass in Shakespeare, leadership, and artistry. To be an Assistant or Apprentice Director is to learn how to support a very specific person in a very specific process for a very specific production, and what an honour it was to support Stephen in the creation of this beautiful adaptation.
How would you describe this production of Hamlet?
This production of Hamlet is clean, clear, and nuanced. Stephen’s adaptation really focuses on family dynamics, changing the script in a way that will keep audiences on their toes while at the same time retaining the core of what they expect Hamlet to be. Along with the contemporary design and performances, I think that audiences will be able to connect with this story and text in a new and compelling way.
What first drew you towards directing?
I found myself gravitating towards leadership roles because I want to have greater ownership over the artistic content that I put out into the world, and I want to contribute to a more inclusive theatre community. With directing, I am committed to fostering an environment where all artists feel like their voices and ideas are heard, their person and time is respected, and their intelligence and creativity encouraged, which I hope helps to create safe and brave spaces for artists to work in.
Where have you been finding inspiration lately?
I am particularly drawn to innovative and exciting design these days. Set, props, costumes, lighting, sound, and projection design opens and offers worlds beyond my imagination, and I am in awe of the creativity of these artists. I also watch a lot of dance, and find the movement of bodies across space so impactful. The emotions that dancers and choreographers can invoke without the use of any text is refreshing and inspiring.
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Daniela Atiencia, The Comedy of Errors
What was your first Bard experience like working as an Apprentice Director on The Comedy of Errors?
I had a great time working with the cast and crew of The Comedy of Errors. It was my first experience working with a team that was in rep with another show, and it was really amazing to take it all on and see how it all works logistically. I’ll never forget the feeling of seeing the behind-the-scenes of the tents for the first time—the joy and amazement it brought me. I felt like I’d been invited to the coolest summer theatre camp ever. Theatre folks are used to being inside dark theatres for long periods of time, but here we’re able to walk outside, see the ocean on your dinner breaks, take in the fresh air, and watch the eagle perched on the tree as you head for the port-a-potty.
How would you describe this production of The Comedy of Errors?
Silly, touching, and fun!
Daniela and director Rebecca Northan on the set of The Comedy of Errors.
What first drew you towards directing?
I’ve been involved with theatre most of my life. I took an interest in directing probably about 14 years ago and I’ve been dedicated to it ever since. I’ve always been drawn to storytelling as a way of understanding my place in the world but also of experiencing deep empathy for the experience of others. It’s the most powerful way of connecting to humanity on an artistic level.
Where have you been finding inspiration lately?
Any place that has some form of storytelling. TV, books, podcasts, or even conversations with loved ones.
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Amber Lewis, Measure for Measure
What did you enjoy most about being an Apprentice Director on Measure for Measure?
I enjoyed being involved in collaborative conversations with our amazing designers, choreographers, and crew. Chats with our phenomenal stage manager, Rebecca, were deeply insightful. It was such a joy to connect with the actors, witnessing and supporting their courageous work throughout the process. Being teamed up with Jiv was also a gift—we have very different styles, and it was an expansive and enlightening experience observing his unique vision and approach to storytelling.
How would you describe this production of Measure for Measure?
Rebellious, subversive, wild, powerful, fresh.
What first drew you towards directing?
By age fifteen, I’d fallen in love with theatre. I just wanted to tell stories. I’d dream up ideas and started directing one-act plays at my high school and community theatre. In my later teen years, I remember doubting myself when I saw mostly men in the director position. I decided to pursue my other passion, acting, and figured when I knew enough, I’d be a director. It took some time and experience to realize that many of those male directors didn’t “know enough” either. They were just blessed with blind confidence. I definitely know enough now.
Where have you been finding inspiration lately?
Everywhere, in the everyday. In light and shadow, joy and grief. My son inspires me with his creativity and wisdom and courage. My many brilliant friends, collaborators, and students are endlessly inspiring. Memories of my upbringing in Barbados and stories of my ancestry. My garden. Mother Nature. Astrology. RuPaul’s Drag Race.
Thank you to Anjela, Ming, Daniela, and Amber for sharing your experiences with us! We are so fortunate to have you as part of the Company, and we can’t wait to see what you do next.
Bard’s 2024 Season runs to September 21, 2024. Get your tickets now by visiting our Season Schedule.
Bard on the Beach’s Apprentice Director Program is generously supported by the RBC Emerging Artists Program.