AP reveals the career paths of the sector?s senior managers.
Jodi Myers Projects (2005 ongoing)
I became a consultant after working in the arts for over 30 years; I would have had neither the courage nor the experience to do so earlier. I am enjoying myself enormously as I work across all artforms and with a huge range of clients, from a school to a West End producer. One of my reasons for wanting a change of direction was that I was not spending enough time talking to artists, so now I produce a handful of carefully selected projects. Going independent, I knew I’d miss managing and developing a team, so I also work as a mentor to individual managers, producers and artists.
Director of Performing Arts, South Bank Centre (1996–2005)
I had overall responsibility for the programme of music, dance and performance, literature and talks, exhibitions and education in the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room and foyers. We developed SBC’s role as producer and promoter, and diversified the programme and the audience while maintaining high standards and financial viability. One of the things I most enjoyed was co-producing unusual but very popular musicals to fill the summer ‘lull.’
Director, Warwick Arts Centre (1991–1996)
I led the team managing what was then the largest arts centre in the UK outside London: concert hall, theatre, studio, cinema, gallery, lecture theatre and workshop. I am proud that Warwick became the venue of choice in the West Midlands for both artists and audiences, and developed a significant role as commissioner and co-producer. A very creative time.
Deputy Director of Touring (1985–1990), Marketing Officer/Touring (1977–1985), Arts Council of Great Britain
I started by running the national marketing network and launching the innovative marketing ‘apprenticeships’, and ended up looking after drama touring. My charismatic boss for most of this time, Jack Phipps, was instrumental in establishing Opera North and Opera 80 (now ETO), the RSC’s Newcastle season and regional tour, Sadler’s Wells Royal Ballet’s move to Birmingham, collaborations with the commercial sector and preventing many No 1 touring venues from becoming bingo halls. They don’t make ’em like that any more!
Publicity Officer, English Music Theatre (1976–1977)
Delivering marketing and press single-handed for a young, very talented, middle-scale company which toured extensively. It was exhausting but so much fun, and only came to an end when despite great work and large enthusiastic audiences, the Arts Council pulled the plug, leaving this poacher to turn gamekeeper.
Publicity Assistant, English National Opera, London Coliseum (1974–1976)
I left stage management as I wanted a job front-of-house; I ended up in marketing, for which I discovered an aptitude. I have always been as motivated by audiences as I am by art.
Stage Management (1972–1974)
I became a stage manager as I was determined to work in theatre but didn’t want to act and I had no idea what other jobs existed. I am so glad I went down this route, as it has been an invaluable foundation for the rest of my career.