05 Mar A Sense of Direction – Lynette Linton
Born in Leytonstone in 1990, Lynette Linton discovered a passion for theatre as a child, initially thinking that she wanted to become an actor. After she studied English at the University of Sussex then joined the National Youth Theatre, though, the theatremaker Rikki Beadle-Blair suggested she try staging shows instead. “I loved it,” Linton says. “Directing just felt right.”
In 2014, Linton co-founded production company Black Apron Entertainment and in 2016, she was appointed assistant director of the Gate Theatre. It was her award-winning 2018 staging of Lynn Nottage’s Sweat at the Donmar Warehouse that made her name, though. Since then, she has staged acclaimed productions of Richard II at Shakespeare’s Globe, Pearl Cleage’s Blues For An Alabama Sky at the National Theatre, and Nottage’s Clyde’s at the Donmar Warehouse.
Since 2019, she has also been artistic director of the Bush Theatre, where she has directed Jackie Kay’s Chiascuro, Beru Tessema’s House Of Ife, Lenny Henry’s August In England, and Benedict Lombe’s Shifters, which is running at the West London venue until the end of March.
How did you become a director?
I don’t think I really understood what directing was until I met Rikki Beadle-Blair through the National Youth Theatre. Back then, I thought I wanted to be an actor. I also wrote a play, Step. Rikki directed a young person’s version of it at Theatre Royal Stratford East. I was watching him work and he turned to me and said: “You know you’re a director?”
He knew I was a director before I did. He must have seen how clear a vision I had for the show in my head, and how I worked with actors. He let me assist him on his next show, then sent me a couple of courses I could do. I did one with StoneCrabs Theatre. I can’t thank Rikki enough.
Who or what was the biggest help along the way?
Rikki. And Chris Haydon, who gave me a great opportunity to be assistant director at the Gate Theatre. And Josie Rourke. And Michael Grandage. The thing I learned very quickly is that it is important to have people in your corner who you are not afraid to turn to and ask for help.
What work are you most proud of?
I’m super proud of everything I’ve done. I would never do something that I don’t connect with. Sweat is the thing that everybody reacted to. Sweat changed my life. I am also so proud of Shifters, Benedict Lombe’s play that we just opened. Even talking about it makes me emotional. And I should shout out August In England and Clyde’s and Blues For An Alabama Sky, too.
What work are you least proud of?
This sounds annoying but I am proud of everything I’ve done because I have always put in the best I possibly could. Of course, I’ve made mistakes, but I have always understood why those decisions have been made and learned lessons from it.
Who or what is your biggest theatrical influence?
James Baldwin. Reading his novels and seeing his play The Amen Corner were massive points in my life. They speak to me on a spiritual level. Working closely with Lynn Nottage has also been a dream come true. And this sounds cheesy, but I am so inspired by the writers that come to the Bush Theatre, the passion they bring and the stories they tell.
Is there a show that you really want to stage?
There are loads. I’d love to adapt some of James Baldwin’s work into a play. Giovanni’s Room would be great, but I would love to see how any of his novels could be turned into theatrical pieces. I am still writing myself, too. I’m doing a little bit for television and bits and bobs here and there. Dramaturgy and directing has taken over a bit recently, though.
What is your financial situation?
Well, I have had a salary for the last six years or so. Before that, I was freelance and it was difficult to make things work. I’m aware that has changed since then, too, and that it is super, super hard to be a freelancer right now. We need more support from the government to make sure that there are sustainable careers for people in the arts.
What do you enjoy most about directing?
My greatest joy at the moment is directing and dramaturging new plays. Working with someone like Benedict Lombe and getting to interpret her words and add a Lynette vision to them is extraordinary. I also love collaborating with designers, lighting designers, movement directors and everybody else. It takes a team of people to put a show on and that is wonderful.
What are your frustrations with directing?
I think we still need to look at the hours we work. In theatre, film and television, because everyone is so passionate, we can end up working really long days. I think a little bit more understanding around that is important. In general, though, I am in awe that this is my job.
What fills you with dread about the future of theatre?
It is funding. The arts are so important to our country and our culture and the wider world. The fact that they are reduced to a question about money is mind-blowing to me. The arts should be funded properly. The amount that culture has been cut in this country makes me so sad. Some schools are not even teaching drama anymore. I’m scared about where we are going.
What gives you hope for the future of theatre?
I hope that we reach a place where theatre is getting the money it deserves. And I hope that we reach a place where diversity is no longer a conversation. I hope we reach a place where it is not this remarkable, unique thing to see a play by a black writer in the West End. I don’t know if we will get to that place. I really hope we do. And we are fighting hard to get there.
What are you working on at the moment?
Tyrell Williams’ Red Pitch is opening in the West End in March. That show is amazing and so deserving of everything that has happened to it. We have just opened Shifters here at the Bush Theatre. It is such a beautiful show. We have This Might Not Be It running in the studio, too. And we are announcing our new season towards the end of April. Busy, busy, busy. Always busy.
ENDS
Fergus Morgan is SDUKs resident blogger.