Explore the art of storytelling with Donnacadh O’Briain, an Olivier Award-winning director and experience designer who has redefined live events. From his humble beginnings in a small Irish village to creating groundbreaking immersive experiences, Donnacadh’s story is a testament to the power of creativity!
In this MG interview, he opens up about the pivotal moments that shaped his career, his love for storytelling, and the exciting future of live performance. Whether you’re an aspiring artist or simply curious about the world of live events, Donnacadh’s insights will leave you motivated and ready to explore your own creative potential! So, grab a seat, and let’s embark on this captivating journey through the mind of a true innovator!
How did you first get started in directing and producing live events? What sparked your interest?
My first memories of performing were being 3 or 4, dancing around the hall at the back of the pub my parents owned in a tiny village in the west of Ireland, and then, when I was 9, playing ‘the Prodigal Son’ in our local church in the west of London. I moved around a lot as a kid – that may have a lot to answer for as well – having to reinvent yourself at every new school depending on what’s more likely to get you accepted.
Later on, I could do silly voices, and I have a really good ear for accents. So, as a kid in high school, I was very useful for the annual school show. That got me into the local amateur scene of the small town in the southeast of Ireland where I then lived. It was there that I first watched big shows from the wings (the side of the stage) and began a love affair with how incredible moments of live entertainment are created!
Could you share the story behind your journey from directing traditional theatre to immersive experiences?
I was directing a production of a play called The Early Bird at London’s Finborough Theatre in 2010, and I had the idea to put the two characters (it was a relationship piece, kind of about being stuck in a nightmare) inside a solid perspex box and have the audience all around. We also created the effect of a black burnt living room with a floor covered in ash, and the walls of the room surrounded the audience. The ash was under their feet, as well as the characters’, so you understood that you were in this metaphorical burnt-out husk of a home. Within that, these two characters were further trapped within their own minds and their codependency. So my traditional work was often very immersive!
The first time I had the chance to have an audience up and moving around was at The National Portrait Gallery. We had one whole floor of the gallery, six or seven actors, and a roving chamber choir. It was thrilling to stage and to move three audiences around the space without them meeting until the end (when they all gathered for the finale). The show was full of surprise and delight for the audience, which is something that immersive theatre and attractions do particularly well.
Winning an Olivier Award must have been a pivotal moment in your career. How did that achievement influence your subsequent projects?
To be honest, the biggest gain for me was the sense that I’d done it! I’d done the thing I set out to do. I’d directed for the Royal Shakespeare Company, in the West End, off-Broadway, had made nearly 100 productions, and had the awards to show for it. That helped me to breathe and pause, and think, ‘Okay, so what now?’
The fact is, theatre is a tough industry; it’s underpaid, and directing is an all-in, fully committed role. As I got to my mid-30s and started having kids (I have three now!), I really needed to step off the train and take a minute. Psychologically, Olivier and the sense of ‘I did it…’ really helped me to stop and think about what I wanted next from my career. It helped me take my head out of the bubble of making and doing and making some more. When I looked around, I could see that it was time to get off that train and explore where else I could go. One of those places was the Immersive Theatre and the Experience Sector.
How do you approach adapting well-known stories for different mediums like immersive theatre?
Well, to use a very overused word, I begin by immersing myself in it! I’ve always started that way. As the creative leader on a project, you have to know the world inside out, understand what makes every character tick, and grasp why it is how it is. Why did the creators and writers make the decisions they made? What was their purpose? Connecting with that is key!
Which trends do you foresee shaping the future of immersive theatre and live events?
Well, you have two competing forces really. On one hand, there’s the move to make everything accessible and exciting from your sofa, and we’re getting better and better at that.
On the other side, there’s the desire to create amazing contexts for people to gather in real spaces. I’m with the real space gang. I believe that people want and need to get out of their homes and engage their whole bodies in live events and experiences. But in a way, that’s the internal tension in the industry. You have the tech on one side trying to give people an incredible experience at home (which is, of course, highly scalable if you get it right), and on the other hand, you have people going back to the basics of play and human connection. And there are a few things in the middle too, of course…
What role does curiosity play in your creative process, especially when mastering new forms and genres?
I love to learn new things. My favourite projects begin with the sense of, “I know we can do this, but I’m not entirely sure how.” That’s where I like to be with a project; that’s what really gets me motivated. I love to ask questions, to go and find things out, to dig and research. I don’t have loads of patience for research, so I need real, tangible reasons to get out and do it. Then, I love it! “I don’t quite know how to do this” is the best possible motivation to go and find answers. I also find that when I’m curious about my team, it leads to better work and better leadership!
As a Creative Director and Story Architect, how do you balance your artistic vision with the practical constraints of budget and logistics?
I actually love budgets; I find them very creative. They are finite and rational on the whole. As a Creative Director, having that information is incredibly useful because it allows you to make better decisions. Logistics, however, can be tougher when they throw a spanner in the works. They’re less finite. For me, I can pivot and stay cool in those situations if the producers and production team are on it and focused. What you don’t want is to be handed problems that shouldn’t really be yours to solve. That’s why relationships and trusted partnerships are so important when making ambitious projects work.
Could you describe your approach to leading creative teams, especially in the collaborative environment of theatre production?
The director’s job is manifold. You need to have and hold the creative vision while expressing it to every team member in a language they understand – be it visual, production, or acting. At the same time, you must share this vision and allow everyone on your team to have their rightful piece of it. This is why the role is called ‘director’ and not ‘owner’.
The goal is to lead and guide each member of the team carefully and gently, helping them align powerfully and expressively. You’re striving to create a unified whole that is greater than the sum of its parts, which tests your leadership and management skills as much as it does your imagination and vision.
You’ve recently been involved with creating immersive experiences for music festivals and cultural institutions. How does your process differ in these contexts compared to traditional theatre settings?
The differences begin with audience expectations and behaviour. In all the work I’ve created for these settings, I’ve wanted to surround the audience. This is true when I’m working with singers. Musical directors sometimes struggle with my approach because I really want to place the singers and the sound right into the audience.
When I was 19, I was an extra in a couple of operas in a 1,000-seat theatre in Dublin, and I remember the first time I found myself sitting on the stage, holding a sword, looking up at the bass, and behind him, the male chorus, and behind me was the orchestra. It was incredible! To be in the centre of that tremendous sound. Whenever I have the chance to create anything close to that, I do; I want to give people that experience.
Mentoring and teaching seem to be important aspects of your career. What do you find most fulfilling about working with emerging artists and students?
Well, it’s a cliché, but I’m always learning, and I always learn something in every session with a student or group of students. Mostly, I learn things from them, from their ambitions, their ideas, their ways of seeing. And sometimes, I learn something by having to try to explain an idea or a process to someone else… I’ve heard it said, and I believe that the cycle of learning is complete only when you teach someone else.
Teaching at prestigious institutions like RADA and LAMDA must have been enriching. How has teaching influenced your own creative work?
Working at those two schools in particular has allowed me to be brave and to take creative risks. If they believe in you, a student group will follow you anywhere (though with great power comes… etc., etc.), and they will commit, to the best of their ability, if they understand what and why, and you can help them with how. Also, I’ve learned more tricks for helping actors and other creatives; student actors are more likely to get stuck and need your help, and they’re all different, so it’s also increased the number of ways I can help and release someone who is blocked.
Can you share a challenging moment you’ve faced in your career and how you overcame it?
One of the toughest moments of my career was shortly after the closing night of Operation Mincemeat in London… I directed the Off-West End production, winning the Off-West End Award for Best Musical, and prepared the show to move up a level into the West End. I was told, along with the design team, that we were being replaced for the West End run. It was such a blow – experiencing that disappointment, the anger, the frustration, the sense of loss, and embarrassment as well.
How did I overcome it? Time passed! I overcame it because life went on, and I became less sad and angry about it – and now it’s a story I tell sometimes when people want to know why I decided to stop being a full-time theatre director.
To overcome something suggests winning in some way. Well, I didn’t win (though I do have the Offie Award on my shelf), but I do understand better the idea that knocks make you stronger!
Could you share a memorable experience from your leadership and innovation workshops at business schools? How do these interactions inform your creative work in theatre?
What I tried to do in that setting – and it taught me a lot, as well as I hope to enlighten the participants – is to look at how I have come to lead creative teams in a rehearsal context. Rehearsals are intense and fast-moving spaces, and it’s essential that every member of the group is working to their best creative potential and feels both clear on what their job is (as set by the leadership) and free to create their performance.
There are several key elements that participants have spoken about, for example, the quality of listening, the way a director will comment in real detail about what an actor is doing, and how it relates to the performance or play as a whole… validating choices, putting them in the larger context, and being clear about how they fit in that context. It’s steering like that, which I think executives seem to have found eye-opening.
Your work spans internationally, from the UK to USA. How do different audiences and cultural contexts influence your creative decisions?
That is something I’m still getting my head around! I would say that is where team building comes in. I can’t ‘be’ from Rome… I’m only ever going to be a visitor, so when I directed Harold Pinter’s play Betrayal in Rome, I leaned on the Italians on the team to help me understand where different meanings and readings of the work might be present, what they might be, and how to either work with them or counter them.
What advice would you give to aspiring directors and creators who are looking to make their mark in the theatre and immersive experience industry?
I ran before I could walk, and that worked for me! Somehow I found my feet. However, I have known people much more patient than I who have taken time to find their feet and played a longer game. Perhaps a mix is useful. Look for collaborators and get involved in as much as you can; be helpful when you can afford to be – and, very importantly – try to find work that pays really well by the hour. This is a time-consuming and underpaid business, so it needs a counterpart that’s the opposite!
Looking ahead, what are some of the new challenges or goals you’ve set for yourself in the coming years?
I’ve just become a member of the World Experience Council, so in 2025, I want to bring as much as I can to that. I have enjoyed creating immersive and theatrical learning experiences recently (more and less immersive), and I want to make more; it’s been really fun! They often have a really clear purpose, and I find that liberating.
Besides your work, what are some hobbies or interests that you’re truly passionate about?
I am a big fan of Arsenal FC, and I live just a couple of miles from the Emirates Stadium. I watch most of their games and get down to watch them live when I can. I support both the men’s and the women’s teams. I’ve recently started swimming in my local Lido, which is fun and rejuvenating! And I’ve gotten back into cycling, which is the best way to experience London.
What’s one travel destination on your bucket list that’s not typically found in travel guides, and what intrigues you about it?
I’d like to go boating in the Norwegian Fjords. I love water, and being on a boat surrounded by fresh water and islands is kind of a dream of mine.
Do you have any hidden talents or artistic pursuits that you enjoy, and how might they intersect with your work on endings?
I can sing a bit! It is generally a hidden talent – it’s usually traditional Irish fare, and so it mostly comes out in a late-night lock-in or maybe around a fire late at night! And I love colouring in – I find it very meditative!
What’s a surprising or unusual fact about you that people might not expect, something that doesn’t typically come up in your professional bio or interviews?
I come from a long line of blacksmiths and most of my father’s family have an artisanal bent. Four of my uncles built their own houses!
What was the best piece of advice you were ever given?
Talk less and listen more!
We often hear about your professional achievements, but can you share a personal achievement or moment in your life that you’re particularly proud of?
Last month, my five-year-old called a family meeting. And that, as a parent, was a beautiful moment. It was to talk about dessert and how we would divide up a cake, which is a very silly topic for a family meeting, but it was a proud moment as a parent. She felt that she had the agency to call it, and she knew that we would listen.
Outside of your professional roles, what’s something you’ve always wanted to learn or try but haven’t had the opportunity to explore yet?
I really wanted to be a furniture maker! I made a coffee table when I was a teenager, but if I could, I would go back to that and learn joinery.
If you could have a one-hour conversation with any fictional character, who would it be, and what burning question would you ask them?
I would talk to Étienne from Zola’s novel Germinal, and I would ask him about what it was like growing up in Paris and how his mother, Gervais, is doing now.
What was your dream job as a child?
Carpenter!
What’s a memorable visual from your childhood or past that continues to hold significance in your life today?
Sitting and watching the video of a show called Anansi, which a neighbour gave me. It was a single-camera recording of a stage show – the first play I ever saw, and I just watched it again and again.
Finally, if you had to sum up your life philosophy or a guiding principle in just one sentence, what would it be?
Try to see the good. It’s easier that way.
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