23 Aug A Sense of Direction – Emily Aboud

Born in 1993, Emily Aboud grew up in Trinidad and fell in love with drama through attending Lilliput Theatre, the island’s only children’s theatre company. Acting in youth productions led to directing, which led to Aboud throwing herself into student drama when she moved to the UK in 2012 to study at Edinburgh University. A Masters in theatre directing at Mountview Academy followed.

Since then, Aboud has been busy building a career as a director, sometime writer, and occasional drag king. Hit shows include Pink Lemonade and Splintered, both of which premiered at the Edinburgh Fringe in 2019 before transferring to London, 2022’s Bogeyman, and 2023’s Lady Dealer, which is currently running at the Paines Plough Roundabout in Summerhall. Aboud is also an associate artist at the Bush Theatre and artistic director of Lagahoo Productions.

How did you become a director?

I grew up in Trinidad. There is one youth theatre in Trinidad called Lilliput Theatre. I remember going when I was ten and thinking: ‘Oh my God! This is so fucking cool! I need to do this!’ I just wanted to be on stage telling stories. I performed in loads of shows with Lilliput Theatre when I was a teenager.

Then, when I discovered directing, I wanted to do that. I thought: ‘There is someone in charge of the show? I can do that. My ideas are the best!’ I went to Edinburgh University to study engineering, but spent most of that time in the theatre, and then did a Masters in Theatre Directing at Mountview.

Who or what was the biggest help along the way?

There are dozens of people who have given me a leg-up. Theatre is a real who-you-know game. On the one hand, I think that is pretty gross, but on the other hand, there are people who I have known that have opened doors for me. It has still been an uphill climb, though. There has never been a life-changing moment. I’ve just emailed a lot of people, made good work, and been a nice person.

What work are you most proud of?

Probably Pink Lemonade, which I directed at the Edinburgh Fringe in 2019, and then at the Bush Theatre. It was funny and political and playful and dangerous, and it had movement and music and poetry. It had all of the things that I love. I was really proud of it. I think it was really good.

What work are you least proud of?

I did an Edinburgh Fringe show with too much optimism once. I think Murphy’s Law applies at the Fringe: anything that can go wrong, will go wrong. That was the case with this show. I had been too optimistic about it all working out. As a director, sometimes you have to be a bit pessimistic.

Who or what is your biggest theatrical influence?

It sounds a bit wanky, but I think a really good gig is a big theatrical influence for me. I like the visual storytelling you get at a gig, and the communal encouragement to dance and sing along. That is what I am really interested in.

Is there a show that you really want to stage?

I would love to do The Seagull. I have been dying to do Chekhov for a long time. Everyone always does Chekhov in an edgy way, focusing on the drama and the misery but Chekhov is also really funny. His plays are farcical at times. I would like to lean into that.

What is your financial situation?

I should answer this. My parents have money, basically. They don’t own a castle or run a bank, but my dad is a judge in Trinidad, and that has given me such a leg-up. I have been financially independent since I graduated from university, but I know that they will help me out if I need them. I wish I could be more inspirational but there is no point not being honest about it.

What do you enjoy most about directing?

I like putting the production pictures of the show up on the website after the show has finished. It is like going for a run. During the run, there is so much pressure and stress and anxiety, but then when the run is over, you get a load of endorphins from doing it.

What are your frustrations with directing?

Casting. I hate casting so much because you have to try to be objective about something that is totally subjective. I am quite a dick about casting, actually, because I ask for three or four casting sessions to make sure I get it right.

What fills you with dread about the future of theatre?

It is simple. The government does not want to fund the arts, and that trickles down through everything, and it is working-class people that will be fucked at every level. Why are we seeing a one-man Uncle Vanya with Andrew Scott in the West End? Why are studio spaces closing down? It is because money is tight everywhere, and that means opportunities die out for everyone that is not privileged.

What gives you hope for the future of theatre?

What gives me hope – but what also destroys me – is going to the Edinburgh Fringe every year and seeing all these amazing companies making cool work. People taking risks fills me with hope, but it also fills me with sadness because they are almost certainly not getting paid for it properly.

What are you working on at the moment?

Martha Watson Allpress’ Lady Dealer is running at the Edinburgh Fringe until the end of the month. We are hopefully going to take Bogeyman – the show we did at the Fringe last year – to London at some point, too. And I am directing Flip! by Rachael Ofori in October. It opens in Newcastle, then heads to Summerhall in Edinburgh, then Soho Theatre in November.

ENDS

Fergus Morgan is SDUKs resident blogger.