André Agius

MFA Directing alumnus André Agius is a theatre director from Malta who has amassed an impressive CV, both in the UK and elsewhere in Europe. André is the recipient of the 2025 Rising Star award. Learn more about him and why he has been deemed ‘one to watch’!

How does it feel to win a Rising Star award?

“I’m very grateful to Edinburgh Napier University for the training they provided me and it’s hugely satisfying as an alumnus to have your work recognised by your alma mater. It confirms that I'm going in the right direction.

“I feel like I’m hitting chapter 2 of my career, and this is a good opening sentence.”

Have you always been interested in the theatre?

“I started acting at a young age doing youth theatre. I then studied theatre studies at university whilst continuing to act. I hadn’t really considered directing but towards the end of my degree I decided to try it. I quickly realised that directing was exactly what I was looking for.”

What brought you to Edinburgh Napier University?

“I finished my undergraduate and began directing more shows, including productions for the National Theatre of Malta and the Malta Philharmonic Orchestra. However, I was going from show to show, and I needed to take some time and understand myself as a director more.

“Edinburgh Napier’s masters in Directing was two years of practical study which was exactly what I was looking for. The course challenged me and got me out of my comfort zone which I appreciated. I graduated in 2021.”

What is the life of a director like?

“You constantly have to hustle and make new connections.

“I aim to do three to four shows every year. Last year I was associate director at the Lyceum in Edinburgh; I directed A Play, A Pie and A Pint in Glasgow which subsequently toured to Ayr; I then returned to Malta to direct God of Carnage for the National Theatre before heading to Brussels to direct Radiant Vermin.

“I started 2025 off by directing a Greek play called Lysistrata at the Scottish Institute; I then directed Chef which toured around Scotland. I am currently in Glasgow in rehearsals for Blood Wedding featuring the graduating actors from the Royal Conservatoire of Scotland.

“As a freelancer, it’s important to understand how different the theatre landscape is in different countries. For example, Scottish theatre traditionally works between a year and 18 months ahead whereas Spain works six months ahead. However, planning also involves luck; sometimes a project could be of interest to multiple theatres and then that will extend the shelf life of that show.”

What has been your favourite production to work on?

“My shows are like my kids! Some of them are a joy but others can be like annoying teenagers!

“My favourite production was last year’s Radiant Vermin which was performed at the Bridge Theatre in Brussels. Written by Philip Ridley, it's a provocative satire about the housing market, homelessness, and inequality.

“I have always wanted to direct this play, and I did it with a company that was very supportive of my ideas. I also enjoyed working with people who gave 150%. In the show we had a large LED square which needed to be constructed on a certain day. We all knew we were coming in to work on this and there was a moment where a producer was painting, a lighting designer was up a ladder, and a set designer was giving directions. I looked around and it was satisfying as a director to see so many people invested in bringing the show to life.

“It doesn’t matter how well you know the local theatre scene or how much research you do about a city’s audience, you never know how your show will be received. At the start you know it will be incredible, then halfway through you start thinking, ‘yeah, this is a good show’, then by the end your thoughts turn to, ‘is this a good show, question mark?’. But it will be good if your foundation is strong.

“Radical Vermin ran for four weeks. On the second night we got a standing ovation, then the same happened the next night and again and again. We got a fantastic review from a national paper and sold out from the second week onwards. It’s emotional as a director to see so many people receive your work.”

You create opportunities for those starting out in the industry. Why are you passionate about helping others?

“At the start of my career there was a period where I struggled to get my foot in the door and so I want to help those going through the same experience.

“Now that I’m in the room where budgets are being made, I can push the company to make certain decisions, for example, by offering internships or assistant roles on the productions I work on.

“I also regularly look for opportunities to help my own connections gain experience. For example, I spent some time teaching at a Sixth Form college in Malta. I had a student who was interested in costume design, and I encouraged her to design the costumes for the end-of-year show. She loved it so much she went to study it at university. Last year I directed a show in Malta, and I was delighted to be able to bring her on board as costume designer.”

What are your career goals?

“I grew up watching National Theatre Live broadcasts at my local cinema, and it would be a dream to direct a show at the National in London. The Lyceum in Edinburgh also holds a special place for me as I feel like I have grown with them. I did an internship there whilst studying at ENU and then I worked as a producer before coming back as an associate director. To have my name on a poster as director would be incredible.

“Additionally, I would love to be an artistic director and run an organisation.”

What advice would you give to the Class of 2025?

“The creative industries is an industry of rejection, but ‘no’ is not a closed door. You are not being rejected on a personal level but rather being told that your production just isn’t a good fit for them right now. That doesn’t mean it doesn’t fit somewhere else.

“There is an Italian concept called ‘grinta’ that roughly translates into English as always look positively and always keep the fighting spirit to get where you want to get. That’s how I have always treated my career. If a door closes, I will try and go through the window. If that doesn’t work, then I’m burrowing a hole in the wall.

“However, it’s also ok to take some time to recover from rejection. Be kind to yourself. You may feel like you can’t do it today, but that doesn’t mean you can’t do it tomorrow. Take a step back and breathe and then come back. The theatre has always been here and always will be.”

Alumni Awards

The Edinburgh Napier Alumni Awards celebrate the outstanding achievements of the University’s global community and showcases the value and impact of their Edinburgh Napier education.

Published October 2025