Member Spotlight: Debi Pirie

Working on a show at The Royal Lyceum Theatre Edinburgh is a bucket list item for many Scottish theatremakers.

But how exactly do you get there? We caught up with Debi Pirie, who has just finished as Associate Director on the company's lavish new production of Anna Karenina. To find out more about her practice, and their tips for emerging theatremakers, read on!

So, Anna Karenina at the Lyceum - what was that like?!

Working as Associate Director on ‘Anna Karenina’ has been unreal and working under director Polina Kalinina has been the highest of highlights. The adaptation created by Lesley Hart and directed by Polina sounded so inventive, fast paced and unpretentious I was desperate to be a part of it and researched everything I could. It’s about passion and how destructive it can be, how all consuming but it’s also about a woman whose world is heavy around her, pressing her into a shape she doesn’t recognise. I’m in  love with and furious at all of the characters all at once - it’s big Drama and I love it!

A big part of my work on this project was rehearsing with the young cast and I couldn’t be more proud of them and so grateful for how easily the cast and creative team included them. 

Everyone involved had the kind of skills and experience you dream of and the room was a generous one. The cast had such a variety of experience of the industry and it was a joy getting to know them and how they work best. There were a lot of challenges and firsts for me - It’s the largest scale production I’ve been involved in so far and the production was quite technical. I had so many opportunities for learning and growing my practice including working with and observing Movement director Vicki Manderson and Intimacy Director Adelaide Waldrop. They did an incredible job of making the work feel safe and equipping the cast and creatives with tools and language to reinforce this while also bringing the most out of everyone.

I think the final thing that has to be said about my experience of ‘Anna Karenina’ is that I am in AWE of producers and the work they do. David Dey was the lead producer on this piece and I now have a shrine to him and his level of competency.

What excites you most about theatremaking?

Theatremaking is a broad term, the scale and length of process vary hugely. But it’s always about creating a world and filling your brain up with it and then sharing it with people whether that’s in a rehearsal room or with an audience. I think it suits my brain to deep dive into a subject, place or character but then really need to share it! 

As much as I love the prep and the world building there’s a lot of on-your-feet problem solving too. You’re in the room where you are given a question or an offering (what does this mean? What should this look like? Who is this for?) and you have to dig deep to find an answer or just have to be bold enough to say, “let’s try this!” and be okay if it doesn’t work. It’s still rooted in research, knowledge of the text and lots of planning but there’s so much room to play and I think that really suits a neurodivergent brain.

If you could wave a magic wand and work on any project now, what would it be?

Like every freelancer I am desperately looking for the next job (anyone hiring?)

I’m in awe  of the projects and people I've worked with and learned from over the last year - some real Magic Wand projects. I would love to work with Polina again in literally any capacity, I’ve still got so much to learn from her. I think the best work comes from rooms where you feel safe but where you’re encouraged to be bold and get a bit uncomfortable so I want more of that.

In Scotland, I would love to direct or perform a piece for A Play, A Pie and A Pint, that’s a big goal for me. I have a broad skill set that encompasses classical and contemporary text but if it’s spooky, doric, queer or feminist it’s particularly my jam. I’m extremely excited about Morna Young’s adaptation of ‘Sunset Song’ - I love to hear Doric and North East voices and Morna’s is a very exciting one. 

I also cannot stop thinking about a wildly theatrical, very juicy adaptation of ‘The Wickerman’. Someone please let me do this! There’s a rich story there with themes that never grow cold. My generation loves learning about cults, witch-craft is bigger than it was in the 90’s and as someone who grew up in rural Scotland it feels like a fun way to bring up some of the issues affecting rural communities. 

Take us back to how you got started. Do you have any advice for people considering this career?

Growing up, I knew absolutely nothing about the industry and knew nobody in it, but I was lucky that my parents were able to take me to shows and I always danced and played music and created. It took me quite a long time to find my feet in the arts, lots of mistakes, lots of ignorance about how to really get started and what I needed to focus on. My background is in Acting and now I have an MFA in Directing  but I’ve always liked doing multiple things. People often criticize a ‘Jack of all trades’ mentality but there are so many artists and creatives who thrive on it.

I think it’s important to recognize that it takes some folks a little longer to figure things out. For the first six years trying to break into the industry I was dealing with undiagnosed Crohn’s, something that’s now really well managed and having that diagnosis has helped me understand my needs and priorities a lot more. I also took a bit of time to understand my queerness and my neurodivergence but the more I’ve understood it and been honest with myself about my relationship with those parts of myself the better and easier the work has been. I think there’s a misconception that having words for things, labels, forces you into a box but my experience has been the opposite. I spend a lot less time trying to get it right and now I’m just me and I’m better craic, less unbearable and more focused because I understand myself better. Now I understand that not everyone’s brain works the same, is single-minded, goal orientated and has the same energy supply. I get the best out of myself when I’m nourished and taking care of myself and allowed to be myself and I try to take that into any room I’m a part of or leading.

What are the best things about the creative community in Edinburgh?

I think it’s a very generous community. There’s a big emphasis on creative engagement and opportunities are becoming more accessible. I was given so much help by EPAD when I graduated from my MFA post pandemic and unsure how to fill the gaps COVID had left in my practice. There are some wonderful companies based here - Birds of Paradise and Stellar Quines are two I’m always looking out for and the Class Act project run by The Traverse is really exciting. There’s so many artists doing great things here outside of August and a real focus on early career networking and creative engagement. For the past few years Leith has been my home and I’ve loved the artistry based here. My MFA showcase and directing debut, ‘Moonlight on Leith’ was partly about Leith as a community and the ‘Save Leith Walk’ campaign. It was written by Laila Noble and Emilie Robson and had been previously performed by their company Clarty Burds. Laila is and extraordinary theatre-maker - writer, director, producer - whose work is so full of heart and often champions queerness. I learned so much from her. 

Working on ‘Anna Karenina’ at The Lyceum was so special for me because I’ve worked with the Front of House department since 2019. This isn’t something I want to shy away from talking about because it’s been such a source of friendship, community and a pool of talent as well as allowing me to experience far more theatre than I could ever afford before. The amount I can learn about a production when you’re in the auditorium with it for its entire run is unparalleled to any other audience experience. Never underestimate the people pouring your drinks.

What’s next? Do you have any projects coming up that you can share?

I’m very excited about my next project, Photon StarBlaster and the Suicidal Spaceship (Edinburgh Festival Fringe, C-Aquila Studio, 1.45 14-27th Agust) which wouldn’t have been possible without the kindness of Alan Wilson. It’s my first experience of Directing and Acting together and of working with my good friend John McEwan Whyte, playwright and actor. 

Photon StarBlaster is a renegade galactic agent on a mission but his spaceship malfunctions and sets a course towards self-destruction. it’s fast-paced, funny and full of heart, exploring the generational fallout of suicide, and how we reach for the stars when the ground beneath us gets too much. It’s a very personal piece for John and its themes feel really important to discuss. I think it could be something special so I hope we can pull it off!

Interview and photography by Rachel O'Regan.