Today we’d like to introduce you to Mandy Rausch.
Mandy, let’s start with your story. We’d love to hear how you got started and how the journey has been so far.
My directing story didn’t really start until long after I graduated college with a degree in English. I loved theatre from an early age and participated in some middle and high school one-act competitions, and then I feebly attempted a musical theatre major at UNT before switching over to English and literature. Of course, I loved all of the scripts we did get to read as part of my literature courses. I auditioned and performed often with my local community theatre, and enjoyed some featured and lead roles in the musicals. But I can say with clarity that my true, deep passion for theatre and directing was ignited in 2011 when I collaborated on a piece of devised theatre with Sundown Collaborative Theatre in Denton. My director and dear friend Tashina Richardson became a mentor to me, and I learned so much from her about creating visually dynamic stories with movement, physicality, and storytelling. I can honestly say that the seed for my overall aesthetic was planted by her.
I joined Sundown soon after that as an Artistic Associate and, in 2015, I took on the role of Co-Artistic Director and dove into producing independent theatre with very limited means but passionate, talented colleagues. A collaborative process is my favorite way to work, and I’ve learned to listen to every voice in the room so that, together, we could create beautiful work.
I also found myself as a committee member and eventual Committee Chair for a new play competition and festival with the Denton Community Theatre, which is where I directed something for the very first time: a staged reading of one of the contest winners. That was it — I was hooked on directing and specifically new play development and workshopping.
I eventually left Sundown after just one season so that I could explore new opportunities in Dallas and, with a new baby, be able to pick and choose projects rather than help run a company.
Since then, I have directed everything from staged readings of new plays to short works and movement pieces, to full-length plays. I also had the incredible opportunity to serve as Assistant Director for both Joel Ferrell (The Necessities by Blake Hackler, Second Thought Theatre) and Joanie Schultz (Hand to God by Rob Askins, Watertower Theatre), two directors with whom I wanted to work immediately upon meeting them.
I’m currently in rehearsals to make my Dallas directing debut with The Rehearsal by Steven Young (another new play!) as part of the Director Development Program with IMPRINT Theatreworks. Shameless plug: we run September 20th-22nd!
Additionally, I’ve been training to become an Intimacy Choreographer. I’ve taken over 30 hours of training with Intimacy Directors International (Tonia Sina and Claire Warden), and I’m taking every opportunity possible to work with and be mentored by Ashley White, one of the newest certified Intimacy Directors with IDI.
Great, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
Because I did start so much later, post-college, I would say it’s been bumpy for me. The biggest struggle has been Impostor Syndrome. I started late in life. I don’t have an MFA; I don’t even have a BFA. I only took a few theatre courses in college. I find myself undermining the work I’ve done because I’ll convince myself that nobody takes me seriously without all the letters after my name.
My dedication to balancing my directing journey with my family and home life has been gratifying, but it means I go longer between projects than others my age and younger than me. These struggles all come from within me. I will say that, in the Dallas theatre community, nobody has ever made me feel that way with their actions or words (or, if they did have, I’ve been blissfully ignorant of it). My struggles have mostly been internal, and I have the terrible power to be my own biggest and meanest critic.
If I were asked for advice, I would say “claim your space.” Write your own story as you go. Recognize opportunities and take them.
I think the struggle for young women, or anyone who does not identify as a cishet white man, is that we have to boldly enter into a room and join the table… and then not apologize for disrupting, which I feel like we’re wired to do. Don’t wait for someone to ask you; start getting used to walking up to people who scare the crap out of you and introduce yourself. Go see theatre and make introductions (hint: you also learn so much as an aspiring director by seeing. more. theatre.). Do so without an agenda, but with curiosity and desire to meet and work for and with people who truly inspire you. I promise you, they’re nice! And if they aren’t, that says more about them than about you!
When the team for Hand to God was announced, someone asked me, “How’d you get that gig??” My response was simple: “I asked for it.”
Please tell us more about what you do, what you are currently focused on and most proud of. What sets you apart from the competition?
I feel the proudest of my directing and projects I associate with when I can walk away knowing that I’ve connected with people. Theatre is about connecting with others to tell stories about humans. When we do it right, we’ve allowed barriers to be set aside for a couple of hours so that we can connect to a story that strikes a chord within us.
I do my work in creating this result by establishing safe, respectful rehearsal spaces in which you’ll find trust and safety in being vulnerable. When you’re in my rehearsal space, I’m holding space for you. I want every actor, designer, technician, and artist to know that they’re in a place they can be their full authentic self and I will never, ever take advantage of that.
Right now, I do feel like this sets me apart, but that the artists in this community are all ready to jump on board – especially as Intimacy Direction becomes more of a thing. The training and work I’ve done with intimacy choreography has only further fanned that flame, and I look forward to learning more every day. The more I learn, the more I see I still have to learn. And it’s invigorating.
What do you feel are the biggest barriers today to female leadership, in your industry or generally?
This is a good question. The impulse is to respond, fist raised in the air, with “THE PATRIARCHY!” Don’t get me wrong; it’s a huge factor and we’ve been socially trained in many ways that will hold us back.
The tide is changing, though, and it’s thrilling. Go watch the YouTube video of Rachel Chavkin, Directing Goddess* during her acceptance speech as Best Director of a Musical this past year for Hadestown.
I think we’re tired of the barriers. We’re joining together and seeking each other out to change the conversation, and there’s so much power in large numbers. There are still many issues and barriers that may take years to break down just because “well this is the way it’s always been done.” But it’s happening.
Contact Info:
- Email: mandy.rausch@gmail.com
- Instagram: instagram.com/feminartistry
Image Credit:
Mandy Rausch, Jace Klepper, Athena Strickland, Chad Withers
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