Producer Catherine Schreiber talks about the importance of supporting women in the arts

Catherine Schreiber is a five-time Tony and Olivier winning Producer. She’s worked on hit shows in the UK and USA, including the Evening Standard Award and London Critics’ Circle Award winning London run of The Scottsboro Boys. She’s currently producing Wyld Woman: The Legend of Shy Girl at Southwark Playhouse Borough, a 70-minute heartwarming comedy about social anxiety and the quest for connection. We spoke to Catherine about producing and mentoring women in the arts.

What practical advice would you give to young women who want to produce, write, or direct but feel intimidated by the competitiveness of the industry?

The industry is indeed competitive. That’s the reality. One shouldn’t follow the path of actor, writer, or producer unless one is genuinely passionate. Careers in the arts certainly do not promise financial security.

But if you’re going to do it, then you must take the initiative. Women of all ages must take their careers into their own hands. They cannot wait for their agents or managers to make things happen. Granted, there will always be that occasion when talent and luck marry early in a career. But overnight successes usually take years. As actors, writers, and producers, we must get out there. Actors need to work as much as possible, audition, and do readings. They should connect with their friends and expand their networks to make magic happen.

For writers, there are so many competitions for short plays and films. Find them, submit. Producers, find that project that you’re passionate about. Seek out family and friends to support you. Constantly look to widen that circle of supportive friends who believe in you.

More opportunities exist for advancement than ever before. The online world is a whole new opportunity for actors, writers, and producers to be recognised.

There was an interesting study about boys and girls in a classroom situation. When asked questions, the boys shot their hands up immediately, even when they didn't know the answer. Girls were not as brazen. They made sure they had the right answer. They were more laid back.

You can't be laid back when it comes to your career. You must ask to be seen. It's hard. You'll get 'no's. You'll get rejections. But sometimes you'll get 'yeses'. Get your scripts out to people. Network. Look for courses that bring together new producers and writers. Ask everyone who they know who might help you. It's embarrassing. Take a deep breath and do it. 

Interesting aside: at one point, I was asked to speak about the low number of women in theatre management. I discovered that women sometimes didn't hire women. They felt they had struggled so hard to get to the top. They didn't want to make it easy for others. Not OK. Women thrive together. In fact, scientifically speaking, women make each other healthier through bonding. 

Some general advice to writers: Write about what you know, what you care about, what you're passionate about. This was the best advice I ever received.  Also, if you write about what you know, then there will be more plays from the female perspective. The ratios of male-centred scripts to female-oriented projects will change. This is a needed gift to our culture.

Wyld Woman: The Legend of Shy Girl feels like it touches on some of these themes of empowerment and self-expression. What drew you to this project, and how does it connect with your broader mission to support women in the arts?

Wyld Woman in London came about when our wonderful director, Cameron King, introduced me to the project. Back story: while working as my assistant, Cameron would frequently go off to direct. One of the projects she was working on was Wyld Woman: The Legend of Shy Girl. She took the project to the Edinburgh Festival Fringe. Cameron told me of its success.  I wasn’t looking for any more projects, but I care about Cameron and consider her quite the impressive young woman. So, I asked to watch the Archival.

Well, that was it. I was captivated by Isabel Renner and her extraordinary talent as both a writer and an actor.

I loved that these two high school friends had nurtured this project together.

I found the piece moving, hysterical, outrageous, and unique. It spoke to the insecurities we all share. More importantly, the piece affirms that each of us is enough as we are. And we must love ourselves and all the wonderful, peculiar things that make us who we are. We are all legends.

And then my maternal instinct flared. Here were two fabulous, talented young women pursuing their dreams, and I wanted to help.

I said, “I’m going to take this to London.”  I helped get Isabel an agent. I was referred to our terrific GM, Rebecca Gwyther, and the team found a home at the Southwark Playhouse. Isabel’s play has been published. The show has received 5-star reviews and two Fringe Theatre nominations for Best Play and Best Performance. Audiences are laughing and loving the show. What pure joy it has been helping Isabel and Cameron move forward in their careers. They are my ‘theatre’ kids.

In terms of further supporting women in the arts, I have two other projects I’m currently developing in London, both female-oriented. I’m following the advice given to me—do what you know. I know women.

Looking ahead, what changes would you most like to see in how the theatre and wider arts world nurture confidence and leadership among women?

There are organisations that send actors into schools to encourage students from all backgrounds to discover careers in theatre, not just acting. This is a fabulous method to increase the number of women and students from all backgrounds to learn about theatre.  

Women must help each other and must embrace the success of others. Women must look to hire women from their applicant pools.

I’m a staunch believer in the power of theatre to change and empower the lives of women and men. If only we could make drama classes mandatory in schools. I have seen how students have been transformed by acting classes, performing, and participating in all areas of a production. When students work together, they must rely on each other to achieve a goal. Leaders emerge. Drama classes build confidence and improve communication. No one is left behind.

My dear friend, the amazing Josephine Buchan, worked with the Kent School System. She put on a musical with many of the children who were totally disengaged from school, whose futures seemed determined by drugs and despair. Teachers had given up on them. Josephine changed their lives. A boy who had never sung became an opera singer. Alaric Green’s life was changed forever when Josephine asked him to try out for Les Mis. A young woman thanked Josephine for literally saving her life. Josephine’s amazing work was captured in the documentary, Made in Kent.

I digress, but the arts are key to nurturing young women's confidence. Bring the arts into the schools.

Wyld Woman: The Legend of Shy Girl runs at Southwark Playhouse Borough until 15^th November https://southwarkplayhouse.co.uk/productions/wyld-woman/