Inside the rehearsals of ANTIGONE: Director Observers reflection

La Boite provides an exciting opportunity for emerging theatre directors to immerse themselves in the rehearsal process of a mainstage production.

As Director Observers, these aspiring creatives shadow experienced professionals, gaining valuable insight into the journey from early rehearsals to production meetings, technical runs and beyond.

For those at the beginning of their directing practice, this hands-on experience offers a rare chance to refine their craft, deepen their understanding of directing techniques and witness how a production evolves from the rehearsal room to the stage.

As part of this program, we spoke to the Director Observers of Antigone – Jordon Riley, Silvan Rus and Sophie Wickes – about their experience.

JR: To observe directors in action is the second best way to learn, outside of actually directing yourself. I was really interested in working on Antigone to see Courtney and Nigel in action – Courtney for her integration of dramaturgy with direction and the impact that has on the room, and Nigel for his incredible knowledge of movement, fight choreography and movement-led action.

SR: I was inspired to take on this Director Observership as I’ll be directing Henrik Ibsen’s Rosmersholm later this year, but I hadn’t directed a show before and struggled to find opportunities to learn the craft. Greek tragedy is my element. I studied classics and Ancient Greek so I could read the plays in their original language – it’s a challenging and profoundly rich text to work with.

SW: I work primarily as a playwright, but I applied to grow my awareness of theatre-making more broadly and expand my practice as a multidisciplinary artist. I’d also been feeling creatively blocked, so being in the Antigone rehearsal room and absorbing the creativity of people I admire felt like the right step. There are many parallels between Antigone’s story and the feminist revenge tragi-comedy I’m currently drafting, so it’s been exciting to see how themes of bravery, power and duty emerge in this production.

JR: Nigel was working with the actors on a sequence of movements, demonstrating the choreography before giving them space to find the movement in their own bodies. Watching that balance between guidance and exploration was a powerful reminder of the trust needed in the rehearsal room.

SR: One moment that stayed with me happened during an early run of the scene where Antigone is brought before Creon after she’s caught burying her brother. Instead of immediately scolding her, Hayden Spencer played the gentle family relationship between them. That choice revealed something not immediately obvious on the page and showed how performance can unlock new meaning in a script.

SW: After the first table read, Courtney asked the room if anyone felt a personal connection to the story. People spoke about admiring Antigone’s courage and conviction, and about how difficult it can be to stand up for your beliefs in today’s political climate. It highlighted what each creative was bringing to the production and reminded me how important lived experience is in shaping the stories we tell.

JR: It’s been fascinating seeing how the script balances ancient and modern contexts. Watching the creative team build meaning through staging, motifs and performance has been incredibly inspiring.

SR: This experience affirmed that authenticity doesn’t come from staging a classic ‘correctly’. It comes from the choices you make in adapting and presenting it for today. This production physically realises moments that would traditionally happen offstage in Greek tragedy, translating the story for modern audiences in a poetic and striking way.

SW: It’s shown me that for classics to resonate today they need to feel grounded in who we are now – in our voices, bodies and fears. Nigel’s work with Theatrical Biomechanics alongside detailed textual analysis has made the story feel urgent and immediate.

JR: The rehearsal room was incredibly collaborative, with open discussions about storytelling from everyone involved. Every voice and idea felt valued.

SR: Maddison Burridge and Hayden Spencer bring incredible energy to Antigone and Creon, with Billy Fogarty complementing the conflict with exceptional dexterity and precision. Their performances make a cast of three feel monumental. Combined with Brady Watkins’ sound design and Josh McIntosh’s set design, the world of the play feels both earthly and divine.

SW: Watching Courtney and Nigel co-direct has been inspiring. It feels like a dance where the person leading shifts naturally. Their mutual trust and shared passion for movement-led storytelling create a supportive and dynamic rehearsal room.

JR: I hope audiences see the parallels between Antigone’s decisions and the choices they might face in their own lives, and feel inspired by the power of standing up for what is morally right.

SR: Enchanted, estranged, humbled and challenged in their thinking.

SW: I love theatre in the round, so I hope audiences feel energised by being immersed in the political world of Antigone. I hope it encourages people to engage with politics both inside and outside the theatre and inspires them to stand up for what they believe in