Tom Attenborough: Director

You’ve worked as an assistant director several times. How did you start and has it been useful?

When I graduated, I wrote to lots of people I’d admired and begged. Very politely, of course. The joy of assisting is being right at the top of the profession. I didn’t realise how much I’d absorbed until I directed my first show since university and realised how differently I approached it. Half of it is etiquette: how a rehearsal room operates, how a process is managed, making sure you’re not treading on toes – that sort of thing. It’s about behaving professionally and expecting others to do likewise.

You also realise that no two directors are the same. There are little things – a turn of phrase, a good way of explaining something – that you can borrow from, but generally directors are inimitable. 

What’s the best career advice you’ve been given so far?

Steven Atkinson, who runs [IdeasTap partner] HighTide told me, “If you’re going to do it, do it properly.” You get one chance with people. If they think something’s crap, they strike you off their list, so make it the best it can be. Don’t be run of the mill. Take people by surprise. 

Having an attitude that says, “Well, it’s fringe,” isn’t good enough. We want people to see it and feel this is a professional show without having to lower their expectations because we’re young and in a fringe theatre.

What’s the one thing you need more than anything as a young director? 

I always work with a casting director, Vicky Thompson, who works with Maggie Lunn. I’d rather have fewer flyers than lose a casting director, because it widens your scope. You might suggest three people you’ve seen on TV or at the National and a casting director will say, “I saw this person on the Fringe and they’re brilliant.” You can find some amazing people.

You’ve got an incredible cast for Port Authority. What’s the secret?

Always aim as high as you can, because if you’ve got a great play, great actors will want to do it. That’s why Ardal’s doing this. He’s fascinated by the piece and loves Conor McPherson’s writing. Of course, someone with high profile will help sell your show, but I didn’t go for him because he was the most famous, but because I thought he was best for the part. People in the industry will always take notice of casting for talent rather than profile. 

Tell us about your experience of The 24 Hour Plays: Old Vic New Voices?

I’d absolutely recommend it, because it was completely different to anything I’ve ever done before. It’s really exciting. During it, you wonder why the hell you’re doing it, but you get to work with brilliant people and there’s this extraordinary collective energy. All these people – cast, writers, producers, stage managers – are willing it on. The show itself was the most nerve-wracking thing I think I’ll ever go through.

Port Authority is at the Southwark Playhouse until 18 February. Book tickets.

Interested in taking a show to the Edinburgh Fringe in 2012? In partnership with Old Vic New Voices and Underbelly, we're looking for five new plays to support this year – apply now for New Voices Edinburgh.

Image by Robert Workman.