Theatre directing
I collaborate with other artists to develop bold new work for the stage. I love any text-based work, but have a particular interest in classical drama and new writing. Most of all, I’m interested in stories that unearth the complexities of our psychologies and relationships, while giving voice to those not traditionally heard or seen. Typically, my work is experimental in form, where movement and music are central to the storytelling. I love to create shows in intimate venues that engage audiences in provocative ways.
What I offer
Audition preparation
In these 1-1 sessions, we will start with close text work. Together, we will unpick the complexities of the language and determine the characters’ intentions and the tactics used to achieve them. Through discussion and exercises, we will also discover how you can use your body and voice to make your two minutes on stage/screen as compelling as possible. My aim is to support you to feel confident and relaxed to go into your audition and perform at your best.
Directing plays
For me, theatre is about overturning assumptions and challenging people to see others in a new and unexpected light. I’m particularly drawn to stories that reveal the vicissitudes of human nature and the experiences that shape or destroy us.
I love directing all kinds of text, from the classical to the contemporary. I am also excited by discovering new voices and telling the stories that are most relevant to us today.
I strive to run a rehearsal room which feels safe and collaborative, where every member of the company and creative team is valued for their work and supported to develop.
Movement directing & Choreography
I have always been fascinated by the potential of the body to convey meaning on the stage. My background in dance has inspired me to experiment with how movement can be used as a powerful form of storytelling. I love working with trained dancers as well as actors (who might have no dance experience) to explore how aspects of a narrative that may resist verbal expression can be told through physical means. Ultimately, I am interested in how movement can best serve the story, rather than how it can enhance the aesthetics of the production.
If you want to know more about my process as a director, listen to this of episode of the ‘Just Get A Real Job’ podcast:
Directing Testimonials
“Marlie absolutely transformed both of the pieces I worked on with her. She has a wonderful way of working that enabled me to look at the monologues from a completely different perspective and really get in touch with the characters underneath the humour of the script, helping me to create realistic and emotionally poignant performances.”
— Emily W (Actor)
“Marlie is a wonderful director to work with! She creates a safe working environment which allows any actor to create, play and explore. The direction she gave was always so clear, it made such a difference to my characterisation. On top of that, she is so open to hearing suggestions from everyone in the room, whether you are the actor, writer or producer. I could not recommend Marlie enough - an intelligent, creative and passionate director.”
— Leila (Actor)
“Marlie was the Movement Director on my show Follow My Fingers which was shown as part of the Clapham Fringe Festival. She completely transformed the play into a moving, living piece of expressionism. She encouraged actors to move on impulse, and find ways to connect to each other, music and the story we were telling. Marlie has the unique ability to immediately understand the overarching themes of a play, and the intricacies the Director is trying to display, whilst at the same time encouraging new thoughts and discussions around the piece. All the actors loved working with her, and she created a safe space to explore, express and have fun. I didn't imagine that movement would add so much to the final production, but it became central to guiding the storyline and giving the play a unique selling point and talking point amongst audience members! I can't recommend Marlie enough and I will definitely snap her up for future productions. She really offers a unique perspective and brings stories to life in a playful, thoughtful and sensitive way.”
— Hannah (Actor & Writer)
“Marlie has directed me with clarity and depth. She made my audition pieces come alive by delving into the meaning of the text as well as its context. She knew the play inside out and collaboratively we examined character, space and intentions.”
— Matilda (Actor)
“Working with Marlie was so inspiring. Her approach is both insightful and challenging - in the best possible way! She encouraged me to look at text and character from a different perspective. Her use of movement and music was so helpful, it got me out of my head and into my body for a more honest connection with the character. She really listens to her actors and creates an open, fun and collaborative rehearsal room. I am excited to see what she does next.”
— Pamela (Actor)
“Asking Marlie to work with me for my debut play was a decision I didn't have to think twice about and I was right! The process was incredibly smooth; she brought so many amazing ideas to the table, whilst allowing me to have a say, creating a transparent and collaborative working environment. I can't wait to work with her again!
— Jessikah (Writer & Actor)
“I worked with Marlie to prepare two speeches for drama school auditions and her help was invaluable. We worked from an outside in perspective which was perfect for me, and in the space of a few hours we had managed to untangle a speech that I was finding really difficult. Marlie was excellent at suggesting practical exercises to bring a new light to the character as well as working closely with the text to enlighten any difficult phrases and hang them together in a way that was entertaining and fresh…Our session together was relaxed yet focused and completely tailored to what I needed. I'm really, really grateful for Marlie's help!”
— Georgie (Actor)
“One of the most original and effective additions to the play were the [movement] scenes, [which] added a certain lyricism to the production…these episodes cleverly expanded upon the relationships and emotions…Beautifully choreographed and performed, these gave the play a unique emotional resonance and were undoubtedly the high point of the adaptation”.
— TCS (review)
“I really enjoyed working on my monologues with Marlie. We worked on classical and contemporary text and she was equally adept at both. She created a fun, playful and non-judgemental space where I felt comfortable to experiment. She also paid attention to detail, asking me lots of questions about my vision of my character and challenging me to really hone in on the choices I was making and why. I emerged with a much more confident grip on my characters and monologues.”
— Emily H (Actor)
“Marlie’s passion for movement as a form of stylised expression is wonderful and unique. In the rehearsal room, she drew on her love of Michael Chekhov and brought in physical exercises that were paramount in developing the relationships between the actors and in building their characters. Her open approach throughout the process encouraged the actors to feel safe and this added a wonderful energy to the scenes. The way she unravels a script to find even more depth and nuance has inspired me as an actor moving forward with other projects.”
— Katie (Actor & Writer)