How SRT’s Directing Residency Shaped Eric Larrea’s Approach to the Stage

From learning the ropes to leading the stage with heart

Eric Larrea’s journey at Singapore Repertory Theatre has been anything but predictable. From mainstage dramas to family shows with The Little Company, his two-year Residency in Directing became a launchpad for his growth and craft, shaping the way he directs and inspires performers. Now stepping into the role of Director, he continues to bring stories to life in playful and surprising ways. We sat down with Eric to look back on his residency, the takeaways that still guide him, and what excites him most about the newest production he’s leading. 

1. You’ve dived into a range of productions at SRT, from big mainstage plays to whimsical family shows with The Little Company (TLC) and showcases by The Young Company (TYC). What was it like moving between those worlds, and how did each stretch you as a director? 

I feel like no two shows were ever the same. Every production, whether TLC, TYC, or Mainstage, brought its own unique quirks and challenges. The TLC shows stretched me musically, since music was always at the heart of the story. Then something like 2:22 – A Ghost Story comes along, and I have to switch gears entirely, diving into thriller/horror… and juggling a small acting role on top of assistant directing! And then the TYC shows were a whole other kind of fun: experimental, fast-paced, and full of young performers, which made every rehearsal feel like an adventure. Each world pushed me in different ways, sometimes stretching me thin, but I am ever grateful for getting that experience. 

2. Looking back on your two years as a Resident Director at SRT, what were some moments that left a lasting impression? 

Every show I worked on during my residency carries its own set of special memories, but two stand out in particular: working with understudies across multiple productions, and being part of Shakespeare in the Park. A highlight of the understudy journey for me was The Three Little Pigs, which was also my first bilingual production. I had to work with multiple sets of understudies in both English and Mandarin—a language I’m nowhere near fluent in. It was both a challenge and a joy to revisit the show several times after opening, each time with new performers stepping in and rising to the occasion.   

Shakespeare in the Park – Macbeth was a completely different beast. The scale of the production—the sheer size of the cast, crew, and set—was unlike anything else I had experienced in my residency. On top of that, we were out in nature which meant that we also had to play by nature's whims. That combination made it an unforgettable experience, and a hugely important milestone in my learning journey. 

3. What’s the most memorable or craziest piece of advice you’ve ever received in theatre? 

The most memorable, and honestly the most useful piece of advice I’ve ever received is: “Be a sponge.” At first, I thought it sounded a little silly, but over time I realised how true it is. I’ve carried it with me ever since. I try to absorb everything I can, whether it’s a new directing style, a quirky rehearsal trick, or even just how someone makes a room feel safe and creative. Being a sponge means staying curious and open, and it’s kept me learning from every person and every production that’s landed on my table. 

4. What did the residency unlock for you as a director that continues to shape the way you tell stories for the stage today? 

The residency unlocked one big thing for me: adaptability. One moment I was knee-deep in musicals and family shows, the next I was navigating thrillers, classics, and everything in between. Each show I did asked for a totally different style, so I had to keep shifting gears while making sure the heart of the story always stayed in focus. Along the way, I realised how much I love working with all kinds of people, whether it was fresh performers, seasoned actors, brilliant creatives, or the unsung heroes backstage. Every process, no matter how big or small, came with its own surprises. And maybe the best part? It reminded me just how much I love using music to tell stories, a spark that still drives the way I make theatre today. 

5. Now that you’re the Director for The Three Billy Goats Gruff, what excites you most about reimagining this story for our younger audiences, and what do you hope they will carry with them after the show? 

What excites me most is the chance to take a show that has already been so successful at SRT and give it a fresh spin for today’s young audiences. The Three Billy Goats Gruff may look like a simple tale; three goats, one bridge, and one very hungry troll, but beneath that are themes children can really connect with: courage, teamwork, and looking out for each other. I love finding ways to bring those ideas to life in fun and surprising ways, with music helping to drive those themes home. My hope is that kids leave the theatre not only laughing and singing the songs, but also carrying a reminder that even the smallest or silliest character can be brave, and that teamwork and empathy always win the day. And maybe, just maybe, they will end up loving tap dancing as much as I do! 

See how Eric brings music, mischief, and heart to The Three Billy Goats Gruff, running 10 Oct – 11 Nov 2025 at the Drama Centre Theatre. Book your tickets here.