Check Out Shelby Seeley’s Story

Today we’d like to introduce you to Shelby Seeley

Hi Shelby, thanks for joining us today. We’d love for you to start by introducing yourself.
I started directing because my high school theatre teacher told me to. I began theatre as an actor in my sophomore year, participating for fun. A career in theatre never crossed my mind until Mr. Clemons handed me a script and asked if I would direct it in the fall. Initially, I said…no way. But after some convincing, I directed my first play at 17 and immediately felt something click.

I attended Eastern Michigan University to become a high school theatre teacher. As a first-generation college student, I chose Eastern because it was affordable, I could commute, and my teacher had gone there. I didn’t even know what to look for in a college that wasn’t just “affordable”.

Later that spring, I was hired on my 19th birthday as the Director of Theatre at Patrick Henry Middle School. I stayed for six years, producing and directing 12 shows with hundreds of students. It was a rewarding experience on so many levels, and I loved working with my students, but I quickly realized my passion was not to become a school teacher.

By the end of my second year of college, I was without a major, and had a schedule full of theatre classes. My advisor, Terry Heck-Seibert, urged me to get a degree in Theatre Arts. Initially, I said no way- working in theatre felt unobtainable to me. Terry gave me the permission to dream, and I committed to a degree in Theatre Arts by the end of the year. It was what my heart and my gut had been telling me to do all along.

Soon after, my friend Amanda recommended me to assistant direct my first professional show. Another friend, Brenden, recommended me for my first acting job. Suddenly, I was working professionally in theatre.

What followed was a series of applications, rejections, recommendations, and acceptances. I fought relentlessly for my dream of becoming a professional director, seizing every opportunity to immerse myself in the world of theater. I directed, acted, produced, taught. When an opportunity didn’t present itself, I created my own. Through this journey, I discovered my true passions and gained invaluable insights into myself. Armed with newfound clarity, I began to prioritize my aspirations, learning to decline opportunities that didn’t align with my vision. My friends continued to speak my name in rooms I hadn’t entered yet. Phil Simmons took me on as his co-director; Marla Gousseff supported me through scholarships and was one of my biggest cheerleaders; Sarah Elisabeth Brown asked me to work with her developing plays. Things started to fall into place.

A significant step was attending the Yale summer intensive and receiving a Certificate in Directing in 2021. The education and connections I made were life-changing and elevated me as a director and artist. That same summer, I attended the Kennedy Center Directing Intensive, which opened my eyes to what conversations and innovations were currently ongoing in the American theatre.

In 2019, I saw my first show at the Flint Repertory Theatre, which had the best direction I’d seen in Michigan. I emailed Michael Lluberes, the Artistic Director, saying, “I have to work here.” He hired me as assistant director for “Happy Days,” “Wrong River,” “Death of a Salesman,” and as Playwright’s Assistant on “The Future is Female.” Directing at the Rep had been a dream of mine for four years when I was asked to direct a staged reading for the 2023 New Works Festival. Directing a script I had championed for years (“Funny, Like Haha” by Katherine Gwynn) with my dream cast was one of the proudest moments of my career. No one had ever put so much faith in me, and working at the Rep was a dream come true.

That same year, the team at Theatre Nova hired me as Associate Artistic Director & Literary Manager. I am right at home with this team of incredible artists; Carla, David, Bri and Becky. Working for a wonderful theatre dedicated to new plays is exactly where I want to be right now. I recently directed the Michigan premiere of “Death of a Driver” by Will Snider (running through June 9th, https://www.theatrenova.org/current-show), am currently building a Development Workshop for playwrights, and will produce the Michigan Playwright’s Festival this summer.

My journey is a blend of hard work, self-advocacy, and the invaluable support of mentors who recognized my potential and nurtured it. Their belief in me fuels my self-confidence and determination, shaping the path that has led me to where I am today. As I reflect on their guidance, I’m reminded of the importance of paying it forward, supporting emerging artists just as others have supported me. Collaborating with fellow artists is both an honor and a privilege, and I look forward to embracing new challenges, learning, growing, and creating art I believe in. I’m grateful for the opportunities that lie ahead and eager to contribute to the vibrant theatre scene in Michigan.

Alright, 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?
My journey in theatre has been supported by various privileges, including access to transportation, physical health (although I’m presently navigating life with a broken foot, which has provided a sobering perspective on the accessibility of theatre), stable employment, and a strong support network. However, I am mindful of the precariousness of these privileges and the significant role they play in my ability to pursue this career. I think this is a struggle most artists navigate throughout their career, and it should never be left unsaid.

As a young woman pursuing a career in directing, I’ve encountered unique challenges and biases. Initially, I directed using a more masculine communication style, emulating what I had seen other directors do that aligned with the typical image of a leader. However, this approach always felt inauthentic to me. My authentic communication style leans towards the feminine side, emphasizing empathy, collaboration, and fostering strong connections to the material and each other. However, this approach has sometimes been met with challenges due to biases favoring more traditionally masculine directorial styles. These biases can lead to doubts about my leadership abilities or pressure to conform to a more assertive and authoritative demeanor. I am suddenly under scrutiny because I’m young, and a woman, and I don’t pretend like I’m not. Despite these hurdles, I believe that my feminine communication style brings valuable strengths to the table, such as building trust and creativity within my team. There are many who truly appreciate my approach and the space I create. By staying true to myself and leading with empathy and collaboration, I aim to challenge the expectation of what a leader “should” be, and pave the way for more inclusive and effective directorial practices in the industry.

Alright, so let’s switch gears a bit and talk business. What should we know about your work?
I go to the theatre to be affirmed, challenged, and ignited. Amidst the American loneliness epidemic, I go to experience something as a collective. I’m inspired by violently tender, ferally feminine narratives that challenge the theatrical form. I seek out plays that go beyond realism to explore deeper truths and reshape the way we think about storytelling. I’m especially passionate about lifting up voices that are often overlooked, especially queer and women-centered narratives.

My main focus is on developing new plays. I believe it’s vital to keep theater vibrant by sharing fresh perspectives. I’m happiest when I’m part of the process of bringing a new work to life, offering my insights as a director to help shape the production and future iterations of the script.

I bring together techniques from my studies and hands-on experience, drawing from figures like Brecht, Liz Lerman, and Elinor Fuchs. Dramaturgy is at the heart of my approach, allowing me to trust my instincts in the rehearsal room. With a background in dance, I enjoy visually striking staging that adds depth to the storytelling. Collaboration is key to my process, and building a space where creativity can flourish is my number one goal. I believe in prioritizing people over product. The theatre industry often struggles with this concept (consider the saying: ‘the show must go on!’), but I find that when we put the artist’s human needs first, we often produce better work.

Ultimately, my goal is to create transformative theatrical events that impact and connect people.

How do you think about luck?
I’d say luck is about 1/4 of the gig!

Contact Info:

• Website: https://www.shelbyrseeley.com/
• Instagram: https://www.instagram.com/shelbyrseeley/