23 Jan A Sense of Direction – Luke Sheppard

Luke Sheppard grew up in Sandhurst, Berkshire. He was a successful child actor but discovered directing as a student at the University of Bristol. After graduating, he worked as an assistant and associate director – including on Matilda The Musical – while simultaneously staging his own shows.

In 2015, his UK premiere staging of Lin Manuel Miranda’s In The Heights transferred from Southwark Playhouse and won three Olivier Awards. His 2019 West End staging of & Juliet won three more, and transferred to Broadway in November 2022. Now, Sheppard is preparing for & Juliet’s arrival in Australia, and for the West End return of his My Son’s A Queer (But What Can You Do?).

When did you find out about directing?

I did a lot of performing when I was a youngster. I was in Oliver! at the Palladium, and some other bits and bobs, so I guess I was always vaguely aware there was someone who told performers what to do, but I never really entertained doing that as a job until I went to uni. I realised I wasn’t really enjoying performing in shows any more, but I had lots of ideas of my own. So I started directing.

How did you become a director?

I started putting shows on as a student, through the drama societies and the musical societies. Then, after I’d graduated, I just started beating down any door that I could.

Who or what was the biggest help along the way?

The first year after university was really hard. I thought I’d do a postgraduate course but couldn’t for financial reasons. Things changed for me when I won a bursary, the Noel Coward Trainee Director Award. I got to assist Philip Wilson at the Salisbury Playhouse for three months. He took me under his wing. That was the moment I felt the pathway to being a director had started to clear.

What work are you most proud of?

It’s impossible to pick one. I had a very special time working on In The Heights. That was a really invigorating experience. I grew up a lot when I was working on The Secret Diary of Adrian Mole. And & Juliet has completely changed my life. To open a show on Broadway as a director in my own right feels like a great privilege.

What work are you least proud of?

I’m not sure that’s a particularly useful way of thinking about it, so I’ll skew the question a bit, and say that I still mourn the work that was lost during the pandemic.

Who – or what – is your biggest theatrical influence?

My family. When I was young, going to the theatre was a real family experience, whether it was shows that toured to my local theatre or special trips to see a show in the West End. When I make a show these days, I often do so with my family at the back of my mind. I want to make shows that they would enjoy coming to see.

Is there a show that you really want to stage?

There is nothing I am desperate to revive, but I would love to do a big, vibrant family musical at some point.

What is your financial situation?

The last twelve years have been bumpy. I only made it in the early days by having a lot of other jobs on the side. I did everything from night shifts in call centres, to children’s parties, to drama classes. Then it was assistant and associate work that meant I could keep a roof over my head while I did my own shows on the side. Now, I’m lucky that I get to work on shows that help me financially.

What do you enjoy most about directing?

The people. I love being in a room with other people, telling stories and having a shared purpose. I love the magic of collaboration. And I love tech rehearsals because that is when everything comes together.

What are your frustrations with directing?

There is a point where you’ve made a piece of work and it gets shared with the world to be reviewed. I don’t mind people having opinions about my work, but I do get very protective of it. I always find it challenging to let go.

What fills you with dread about the future of theatre?

Audiences. I worry a lot about people not coming to the theatre. If people aren’t coming, then what is our purpose?

What gives you hope for the future of theatre?

The younger generation. My generation graduated against the backdrop of the 2008 financial crisis, but lots of exciting people still went on to do amazing things. The generation coming up now are facing an even more challenging landscape, but I believe that they will come out fighting. There are a lot of incredible young artists who are going to be making waves in the years to come.

Who would be on your fantasy creative team? 

I’m lucky. I already get to work with the people I dream of working with.

Is there a city or country that you have not worked in yet, but would love to?

Yes, and I am about to go. In a couple of weeks, I’m off to Australia with & Juliet, and I’m really excited about that. There’s a really exciting musical theatre community in Melbourne and Sydney, and I can’t wait to connect with it.

What are you working on at the moment?

My Son’s A Queer (But What Can You Do?) opens in the West End next week. Then & Juliet opens in Australia. And I’ve been doing a lot of development work on new musicals, which will go into production over the rest of this year and next year. I can’t say what they are yet, but I’m very much looking forward to what lies ahead.

ENDS

Fergus Morgan is SDUKs resident blogger.

Image credit:  Michael Wharley