How I Got Here: The Artistic Director of Melbourne Theatre Company on trusting your own voice
PHOTOGRAPHY BY CHARLIE KINROSS
WORDS BY IZZY WIGHT
“Things very rarely fall into your lap, and you need to be attuned to glimmers of opportunity to grasp them with both hands.”
Have you ever stalked someone on LinkedIn and wondered how on earth they managed to land that wildly impressive job? While the internet and social media might have us believe that our ideal job is a mere pipe dream, the individuals who have these jobs were, believe it or not, in the same position once, fantasising over someone else’s seemingly unattainable job.
But behind the awe-inspiring titles and the fancy work events lies a heck of a lot of hard work. So what lessons have been learnt and what skills have proved invaluable in getting them from daydreaming about success to actually being at the top of their industry?
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Welcome to How I Got Here, where we talk to women who are killing it in their respective fields about how they landed their awe-inspiring jobs, exploring the peaks and pits, the failures and the wins, and most importantly the knowledge, advice, and practical tips they’ve gleaned along the way.
This week, we hear from Anne-Louise Sarks, the Artistic Director and Co-CEO of Melbourne Theatre Company. From the beginning of her career, Anne-Louise has “tried to grasp every opportunity and experience” that comes her way, helping her to build a dynamic set of skills across writing, directing, programming and generally nurturing emerging creative talent.
Having steered Melbourne Theatre Company through the endless industry setbacks of the pandemic, Anne-Louise has learnt the importance of collaboration, passion and trusting your gut. “Learning from the people you work with and building a rapport with others is so crucial,” she says. “That also means knowing that sometimes my voice isn’t the most important one in the room.” Read on to hear her best career advice.
What do you do and what’s your official job title?
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I’m the Artistic Director and Co-CEO of Melbourne Theatre Company. I bring the artistic vision to life and program a season of works, as well as oversee all the initiatives that sit around that because Melbourne Theatre Company is so much more than just what’s on stage. I’m also a director and writer, so I create and rehearse my own work.
Take us back to when you were first starting out. Did you study to get into your chosen field or did you start out with an internship/entry-level role and climb the ladder?
I was around theatre and seeing productions from a young age thanks to my parents, who had a great love of theatre. I initially studied arts and social work at The University of Sydney, and during that time I started making theatre with a drama society there (Sydney University Dramatic Society).
It showed me the impact that theatre could have on people and it sparked a change in direction. I wanted to learn new skills, so I auditioned to study acting at the Victorian College of the Arts (VCA). Not long after graduating from the VCA, I started working with The Hayloft Project, an independent theatre company that helped shape the kind of theatre maker I am today.
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By its very nature, it was collaborative and inventive and it allowed me to stretch myself artistically. I went back to directing because I wasn’t content with sitting and waiting for opportunities and I wanted to have agency in the stories I was telling. My directing took over and in 2011, I became the artistic director.
I’ve tried to grasp every opportunity and experience that comes my way, which meant taking on in-house directing roles with theatre companies like Belvoir, Melbourne Theatre Company and Malthouse Theatre. In 2012 Kate Mulvany (playwright and actor) and I adapted the ancient Greek tragedy Medea at Belvoir which, looking back, was a pivotal moment in my directing career.
We were given creative freedom to test something out theatrically, and seeing it pay off and be so loved by audiences was truly special. It led to so many more opportunities both here and abroad, including directing it in London and Switzerland. Eventually, I moved to London permanently and worked as a director over there.
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My professional relationship with the Melbourne Theatre Company goes back more than a decade. I directed my first production in 2012 with them, The Seed. The opportunity to come back to my creative home and work with my community of collaborators – and serve the wider community – was one that felt so right.
What challenges/hurdles have you faced getting to where you are now? Can you tell us about one in particular?
Taking the reins of Melbourne Theatre Company amidst the tumultuous COVID-19 period was a great challenge, but one I relished. Not that anyone needs reminding of Melbourne’s lockdowns, but the [Melbourne Theatre] Company was one of the most shut down theatre companies in the world. It was a difficult time for artists and arts workers.
However, seeing how much audiences loved coming back to the theatre after so long away and having people be able to experience the connection that theatre provides reminded us all how invaluable the industry is and how integral it is to protect.
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It also provided an opportunity to really think about who we are as a company, who we want to be and what our role is in shaping the cultural conversation. I want to get people excited about live theatre.
What do you want people to know about your industry/your role?
Every day is different and I love how varied the role is. Whether it’s artistic direction, programming, finding and nurturing new talent, rehearsing a show, managing people, working on the long-term strategy, writing, speaking to donors, subscribers or audiences – there are so many facets to it.
What’s the best part about your role?
There are so many wonderful parts of this job. It’s championing new stories… It’s welcoming and introducing new audiences and sparking that lifelong love of live theatre. It’s being able to push culture forward in Victoria and Australia more broadly.
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It’s being in a rehearsal room and providing a platform for artists to make the work they want to make. I’ve been fortunate with opportunities in my own career and I feel so grateful to be able to create them for young and emerging artists to tell stories.
What would surprise people about your role?
The thing that I think most people might be surprised about is the amount of people and expertise that are needed to make a live show happen. From developing a script, to behind the scenes in the rehearsal room, to building the production elements that bring it to life and everything in between… it literally takes a village.
What skills have served you well in your industry?
Collaboration. Theatre is an art form where all elements have to come together cohesively – whether it be design, composition, production, or the cast and creatives.
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Learning from the people you work with and building a rapport with others is so crucial. That also means knowing that sometimes my voice isn’t the most important one in the room and having the courage to step back and let others lead.
What advice would you give to someone who wants to be in a role like yours someday?
If you can’t see a pathway, make your own. Things very rarely fall into your lap, and you need to be attuned to glimmers of opportunity to grasp them with both hands. I approached Marion Potts (then Artistic Director of Malthouse Theatre) about a mentorship when I was looking for guidance and ended up becoming a director in residence in 2011.
That step turned out to be one of the most valuable ones I took. I’d also say trust in your own voice and what you have to say, and be your most authentic self because trying to be someone you’re not won’t get you anywhere.
What about a practical tip?
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On the days you’re feeling brave, write an email to the person in the industry you admire and ask to meet them. Theatre-making is a collaborative environment and people are genuinely willing to help one another – whether it’s through advice, opportunities or a helping hand. Find your people and surround yourself with them.
Read the rest of the How I Got Here series here.
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