An Interview with the Director – Marcus Pinnell
The recent production of Little Shop of Horrors
at Wesley College was a resounding success,
not just because it took home the
Production of the Year for the Junior category
but also thanks to the collaborative vision
of a great creative team.
We sat down with Director Marcus Pinnell
to find out how he embraced working
with both his production team and his cast.
He emphasised the importance of collective
decision-making to bring a show of this scale to life.
“I think the days of one voice,
usually the director, being the loudest voice
in the room are a thing of the past”
The vision
He credited a highly skilled team for being able to stay true to the vision for the show.”Being able to trust the group of people who I work with who are all extremely skilled at what they do makes the overall vision come to life.”
Early in the process, the team established “non-negotiables” for the show, such as a strict colour palette. “For Little Shop, it was that there weren’t to be any colours in the show beyond reds,
greens, and browns in costumes, except for Audrey.” The team also decided to create their own version of Audrey II. “There are some incredible versions of Audrey II out there, but we wanted to put our own spin on Audrey II and make sure that they filled the entire shop by the start of Act II.” The goal was to give the audience a sense of the plant’s overwhelming size while making the space feel increasingly cramped for the performers. This decision was inspired by late 1980s sci-fi horror films. The production’s aesthetic was carefully crafted by the collaborative efforts of the incredible creative team.
The success of the production
From the outset, Marcus felt that Little Shop of Horrors was going to be amazing. “It was pretty clear early on this was going to be a special show.” The double-casting approach allowed two groups of talented students to bring their interpretations to the stage, and the quality of their singing stood out. “I think it was the first time we heard ‘Feed Me’ and ‘Suddenly Seymour’ at the same principal singing rehearsal that we knew.” Despite the tight rehearsal schedule (Wesley do five shows a year), the combination of strong performances, meticulous design, and a cohesive vision confirmed the team’s belief in the production’s potential. “Once the set and costumes came in, Audrey II puppets came in, and we turned the stage lights on, it confirmed what we thought when we first started.” He also highlighted the students' enthusiasm and risk-taking as a unique element of school
productions. “I think the unique thing about student theatre is the ability of the students to take risks that I’m not sure adults can.”
The challenges
One of the primary challenges faced during the production was balancing the demands of the show with other school commitments. “In schools, particularly schools with massive co-curricular programs, there are always competing interests.” Whether it was sports training or Year 12 academic pressures, the team had to be adaptable. “I think the best way to overcome these things is to be as flexible as you possibly can be without compromising your standards.” When unexpected issues arose, like illness during production week, the team focused on maintaining their standards while prioritising student well-being. “It’s hard to remember that you can only do so much, the show will go on and as long as the students are having a wonderful time, then you’re achieving your main goal.”
The Director’s passion
Marcus shared with us that his passion for directing is rooted in the joy of creative collaboration and the transformative power of theatre. “I love the initial stages of the process. The casting and
audition process is like a giant puzzle.’ However, he did acknowledge the emotional weight of casting decisions. “It’s also probably the most difficult period of the process emotionally because you know that when you put that cast list out, there are going to be students who are thrilled and students who are devastated.” Despite the challenges, he finds fulfilment in watching students discover new talents. “I also love finding students who have turned up to audition for the first time and you can see their interests changing before your eyes because they have found this new, exciting world.” For aspiring directors, Marcus advised investing time in understanding and building trust with young performers. “You can’t take a ‘one size fits all’ approach with young performers, so invest the time in the students and work hard to gain the trust you need to get the students to feel like
they can get on stage and take risks and be vulnerable.” He also encouraged directors to maintain authenticity and joy in the rehearsal process. “Be yourself, be able to have a laugh at your own expense and make the rehearsal room as jovial as it can be” he advised, but also noted that different shows may require different atmospheres.
Support is essential
Marcus recognised that the show’s success needed to be credited to the support he gets from both his colleagues and his family. “I have an incredible team of people who I work with who are
both Wesley College staff and some external contractors” he shared. Additionally, his wife, who has a background in choreography, provides valuable perspective. “Having someone that is removed from it all but equally understands the creative process has been so important for me.”
Success and pride
When asked to reflect on the success of the show, Marcus shared that true success in a show is measured by the growth of the students (performers and non-performers) and their enjoyment of the process. “Did the show push them and make them better performers? If the answer is yes, then the show has done its job and has been a great success.” We asked Marcus what he was most proud of with the production and he found it difficult to tie it
down to one thing. “Can I say everything?” he joked. From the visual details to the growth of the students, he found lots to celebrate. “I am most proud of seeing how far the students came. Their
improvement across the three-month rehearsal period was huge.” Looking ahead, Marcus remains excited to continue his work with future productions, bringing the
same passion and dedication to each new challenge.
The Music Theatre Guild of Victoria wants to congratulate Wesley College and all the recipients of excellence awards in our Junior category.
Stay tuned to next month’s newsletter for our interview with the President of Lightbox Production as we get the secrets of success on Young Frankenstein.
Interview by Meg Warren.
