How I Made It: ‘I direct and choreograph large-scale theatre shows’

Welcome back to How I Made It, Metro.co.uk’s weekly career journey series.

Currently, she’s working on an adaption of Guardians of the Galaxy.

The 35-year-old has been with the company for nine years, starting as a performer and working her way up across 20 productions.

She knew she wanted to work in theatre from childhood, being drawn to shows and being encouraged by her family.

Over the years, she discovered dance and found that site-specific performance – which is rarely done, but increasing in popularity – was her bag.

At her shows, audience members freely roam around as actors create a ‘world’ for them to interact and engage in.

Here’s how she made it.

Hey Lucy. How did you get into choreography and performance?

As a kid, I really enjoyed seeing people play and being free and my family were key in encouraging that. 

Another lightbulb moment was in 2010 when I walked through a mysterious black door at London Bridge train station and discovered SHUNT, a theatre company, and shortly after they commissioned me to choreograph a piece.

I found them and the space so inspiring and that was my first introduction to immersive work.

I was lucky enough to work at the space for a couple of years.

Did you do any training?

I trained as a dancer at London Studio Centre, which helped build my contacts.

The teachers were so supportive of my creativity and passion for choreography.

For my dissertation they allowed me to borrow part of the building and that’s when I created my first site-specific show. I loved it.

I also collaborated with an electronic sound artist, costume designer and wanted the audience to be at the heart of the work.

That was when I saw the power and brilliance of collaboration and site responsive work.

How did you begin your career in this industry?

I was working freelance as a choreographer and co-running The People Pile, a dance collective that specialises in interactive dance experiences.

As a dancer, I performed in many operas at The Royal Opera House and performed and choreographed all over the world with immersive experiences and theatre shows.

What made you want to move into directing?

My first job with Secret Cinema was choreographing Saturday Night Fever back in 2013, I then got the bug and discovered directing with the company.

I feel lucky they’ve allowed me to grow creatively and move to directing.

How do you find working in site-specific theatre?

Exhilarating, challenging, and mind bending.

I feel incredibly privileged to do this job, creating and designing worlds for audiences to escape and play in, it’s such a wonderful thing to be a part of.

Is networking important in your industry?

Yes, it’s vital. It gets your foot in the door and can create opportunities.

An average day in the working life of Lucy Ridley

Lucy’s day to day can vary depending on what phase of the production she is in.

9.30am: She has a team check-in and aligns for the day.

10am: Rehearsals begin and after that various meetings happen throughout the day with the set designer, sound, lighting, video, costume, wigs, hair-makeup and merch teams.

11pm: The workday is over, and soon the intense hours will wind down.

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