From Rehearsals to the Roundhouse: Emerging Directors Talk Macbeth

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 invaluable 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 helps refine their craft, deepen their understanding of directing techniques, and strengthen their creative approach.

As part of this program, we spoke to the Director Observers of Macbeth – Danielle Milde, Tainika Kane-Potakam, Presley Woods, Anna Loren and Dilsah de Rham – about their experience. Here’s what they had to say.

DM: Macbeth has always been a favourite of mine, hearing the direction Courtney and Lisa were taking it in left me fascinated beyond belief. I couldn’t wait to observe the creative process.  

TK-P: I was particularly draw to the directors and the casting, having a cast of women of colour lead by two directors that are women of colour take on Macbeth was something I knew would be powerful, and I wanted to be a part of that.

PW: I have a huge admiration for Courtney and Lisa. Their work is paving the way for a more inclusive industry, and I aspire to achieve that same impact in my own career. It’s an honour to be part of this process and witness their artistry firsthand. What an absolute dream team!

AL: I’m always looking for ways to learn from creatives with more experience than me, in this case Lisa and Courtney who have a wealth of knowledge and experience between them. I was drawn to this production in particular, because of the ways it set out to challenge existing narratives around power and ambition, by shifting the lens to centre those traditionally on the margins. 

DdR: The cast, the directors, a combination to provoke change for everyone and learn new ways of working for me.

DM: Definitely the choreography of the weave. Watching the actors and directors work together to find what movements will create the largest impact and meaning on the audience was truly enticing to observe.

TK-P: From the very first table read everyone brought such powerful energy and it felt like we were a room full of witches making magic happen!

PW: In one of the first rehearsals I observed, I was struck by the way Courtney and Lisa created a space where a variety of First Nations women could truly dominate and take ownership of the text. Seeing them lead with such tenacity and openness completely shifted my perspective on Macbeth, it was no longer a classical text, but a story reimagined through our lens.

AL: Workshopping a particular death scene supported by a haunting sound design. The concept was just beautiful from the beginning and the actors brought such power and fierceness to its realisation. 

DdR: There was a moment when an actor shared with the director what they were feeling in their body about a moment in the play, and negotiated how to address it in their acting with them: even though it was not the initial thought from the directors. The tension was palpable and so honest, real and authentic. 

DM: This experience has revealed to me that there are no rules or limitations when it comes to storytelling.

TK-P: I think its broadened my mind to think past parameters of storytelling I may have set up for myself. 

AL: It has reinforced my love of the theatrical, and the ways that a story can be weaved together, celebrating the liveness of the form and the innate contract between performer and audience. 

DdR: We can tell a story from our perspective, and the story will always have something to reveal even if we hear the same story a thousand times.

DM: This adaption being told through the perspective of the witches, has leaned more into the mystical and chaotic themes of the play. The ambiguity and drama of the play has been heightened, creating the true madness that is Macbeth. 

TK-P: I think it’s really brought out the timelessness of the play. I can see Macbeth as current and happening now.

PW: It has given us, as women of colour, the power to reclaim our own narratives rather than being confined to external colonial perspectives. The discussions about taking back power in this story while being surrounded by a team of incredible brown women were phenomenal. I really appreciated how the directors explored Scotland’s relevance to our version of Macbeth through our lens and the history of colonisation.

AL: It’s definitely underscored a sense of the inevitable within the story, and of the cycles that humankind plays out again and again again in the pursuit of power.

DM: I want audiences to leave the theatre seeing Macbeth entirely differently to the play they already know. The true corruption and insanity of all the characters, it’s honest form. 

TK-P: I hope they also see the timelessness of Macbeth and how relevant the themes are. I hope they feel as inspired by the powerful women on stage as I do.

PW: I hope Brisbane audiences walk away spellbound and enchanted by the immeasurable talent of La Boite’s Macbeth, in awe of the spectacular work that has been done. This is the first time I’ve witnessed an entire cast and directing team of women of colour taking on Shakespeare, and it’s something rarely seen on our stages. Being part of this process has been a deeply special and historic moment for me.

AL: I hope that the audience gets to experience the play as though for the first time and that they get to be surprised. 

DdR: The rich new perspectives is innovative, and provides a lot to reflect upon.