“It felt like stepping into a sanctuary for creativity” – Assistant Director Sofia Gallucci on working at The Watermill.

5 April 2024

It was often described as a ‘home away from home,’ and as I journeyed to the Watermill Theatre for the Spring and Summer seasons, I understood why. Surrounded by rolling green hills, the gentle quacking of ducks, and the somewhat relentless great British weather, it felt like stepping into a serene sanctuary for creativity, away from the hustle and bustle of London. As I eagerly embraced my role as an assistant director on two productions, I couldn’t wait to immerse myself in the unique charm of this theatrical haven.

My current project involves collaborating with artistic director Paul Hart on a vibrant adaptation of Much Ado About Nothing, transported to the glitz and glamour of 1940s Hollywood. In the lead-up to rehearsals, I delved deep into the world of 1940s cinema—exploring movie stars, scandals, fashion trends, and musical scores. Research has always been a passion of mine, and with Paul’s inspiration from our previous discussions, the journey into this era was endlessly captivating. I spent a lot of time in the archive rooms at the British Library which provided ample resources for uncovering iconic film scenes and historical context. With adaptor Tom Wentworth’s skillful reworking of the original text and Paul’s visionary direction, the world of our show has emerged with remarkable clarity and richness.

As I reflect on the final weeks of rehearsals, I am filled with joy. Theatre-making truly is a collaborative endeavour, requiring an entire village of talented individuals. Our sound designer and musical director, Robin, has worked closely with us to craft a layered and dynamic score, blending live performances with recorded sound. The heart of the Watermill lies in actor-musicianship, a quality that drew me here with excitement reminiscent of my first few professional assistantships at Bristol Old Vic. From a double bass, keys and sax, to a trombone, snare drum and wonderfully named percussion instruments; the texture to the score is so rich. I lost some of my hearing as a teenager and wear hearing aids full time, so I often get asked the question of why I love working on plays with music so much if I can’t always hear the same as everyone else. The answer is pretty simple; it’s very much the feeling that the sense of music stirs in you which I love so much. The collective performance of an ensemble who are all experiencing and participating in the same number, and really have to connect with one another in order to allow the music to run smoothly. That sounds very hippy dippy, but the ensemble nature is certainly true within our show and is what I think it brings it alive so well.

In addition to musicality, our work with movement director Emily has been transformative. Her holistic approach not only shapes the choreography but also unlocks the physicality of our characters on stage. As an early career theatre maker, I find inspiration in the amalgamation of ideas and techniques borrowed from other creatives like Emily.

Similarly, the guidance of James, our voice and dialect coach, has brought a nuanced authenticity to our performances, refining the characterisations and influencing their physical presence.

Collaborating with Paul on this project has been nothing short of brilliant. His clear vision and delineation of power dynamics have provided a foundation for boundless creativity within the company. In his porous and collaborative space, ideas flow freely, shaping the staging, characterizations, and narratives of our production.

As we prepare to transition into tech week and the opening performance draws near, I am filled with gratitude for the opportunity to contribute to such a vibrant and collaborative artistic community at the Watermill Theatre.

Sofia Gallucci – 2024

MUCH ADO ABOUT NOTHING runs from 12 April – 18 May. Book your tickets here.