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Intermission Changed My Life: Graduate Makes History With Bold Shakespeare Remix

Richard Beck Richard Beck
9 Dec 2025

Stephanie Badaru was invited by Intermission Youth Theatre’s artistic director Darren Raymond to become the first graduate of the company to direct a production for them. We asked her about the experience.

Intermission changed my life, and continues to do that for every young person who participates in their programmes

Stephanie, how do you view the company?

I view Intermission Youth as a family, first and foremost. I’ve been lucky enough to see the organisation through a variety of lenses, as a participant, a facilitator and now a director. That has given me the chance to see how much the organisation has grown, all while keeping the mission of supporting young people at the core. My involvement as a director, 17 years after doing the programme myself, is a testament to the work they do and the people they are.

Some people might think it strange that a youth theatre company focuses its work around Shakespeare.

I think it’s easy to question ‘why Shakespeare?’ but even more than before I understand why it’s so important and so effective. Firstly, the themes he wrote about are just as relevant today as they were when they were written, but also understanding the language and working with classics breaks down barriers for young people. It’s about connection, and actually using Shakespeare’s plays allows for such an opportunity to expand empathy and make connections.

How did you come to direct Comedy of Errors Remixed?

I did the 10-month programme all those years ago, and when I was introduced to the organisation, I think Darren saw something in me and knew what journey I could go on. Two years ago I came back as a facilitator, which I’d wanted to do for years to give back and support the programme, but never had the time. This year I came back again, intending to facilitate, and then was asked to direct. It did make me think ‘how far are they gonna take this personal development thing?!’, but that’s what Intermission are about. Darren and the rest of the team have an incredible passion and ability to see a young person’s potential and lock in with them to make it happen.

Were you surprised to be asked to direct this year's show and how does it feel to be making history?

I was extremely surprised! I still think Darren is crazy for asking me but we’re here now. When he first called me, I said no, because of time and also my experience. He then suggested that I could co-direct with another grad. I agreed, even though I doubted the other grad's capacity. Then it turned out the other person wasn’t able to work on it. Despite my worries, my heart was shouting at me that I had to say yes, so as soon as the next call came from Darren I said yes straight away and told him to take that as my final answer, no sleeping on it, no mulling it over.

Intermission changed my life, and continues to do that for every young person who participates in their programmes. Ever since I completed the 10-month programme I’ve always wanted to give back, not necessarily to be a part of making history, but because if I can help make a difference in one young person's life the way that others made a difference in mine, I’ve done something to give back.

One feature of IYT productions is double casting. How does that work out for you as director?

It’s really fun. I get to see two almost entirely different shows. When we first started rehearsals, it felt like they looked to me for answers, and my response was that 1, I don’t have the answers, and 2, I’m not there to tell you how to act or what to interpret from the text. It was challenging, but in refusing to answer those questions, it gave the casts space to consider it all, apply their own opinions and interpretations, and in some ways create their own show. It has meant that while the text is the same, the characters are dynamic between the two casts: they have different intentions, there’s nuance to how they deliver different lines and there’s different depths to the relationships.

This year’s production is a reimagining of Shakespeare’s Comedy of Errors, created by Artistic Director Darren Raymond. What’s he done with it, and what themes and issues does the production highlight?

Darren’s script pulls out some seriously topical issues like displacement, identity, immigration and the struggle to assimilate, which are relevant generally, because of the current social climate, and also because so many of our cast and the young people Intermission work with come from immigrant backgrounds. We’ve found our focus is on empathy and humanising the stories of refugees and immigrants. I think that seeing young people, especially those from immigrant backgrounds, is especially hard-hitting because it personalises those who are being impacted negatively by the social climate and policies. A lot of the time the headlines we see are quite dehumanising, and vilify immigrants as a group rather than acknowledging them as individuals. In our first scene, you actually get to hear people’s stories. Through the stories you hear, we allow an opportunity to personalise, to humanise and to actually give space for the extremely difficult circumstances that immigrants have fled.

Richard Beck

Richard Beck

A graduate in theology and education, Richard acted and contributed to dance, drama and music productions throughout his teaching career. He joined Broadway Baby in 2014 and is now our Editor-in-Chief. He usually disappears to warmer climes for the winter to pursue his passion for travel.

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