ArtsProfessional reveals the career paths of the sector?s senior managers.
Artistic Director and Joint Chief Executive, Bristol Old Vic Theatre (2003?to date)
As the producer at the Old Vic, I?ve collaborated, first, with a co-Artistic Director (David Farr), and now with a co-Chief Executive (Rebecca Morland). I have led with a singular artistic vision: radical classicism ? reinventing the established canon, embracing literary adaptation, championing quality family shows, and commissioning new physical theatre. With new artists, as well as some with whom I have collaborated before, a new senior management team and a skilled production staff, we are transforming the artistic, and consequently the financial, fortunes of Bristol Old Vic.
Development Executive, Tiger Aspect Productions and Editorial Policy Advisor, BBC (2001?2002)
Working back in television was disappointing: the independent sector allowed the money to lead the art; the BBC found it hard to hang on to moral decency.
Literary Manager and Dramaturg, Royal Shakespeare Company (1997?2001)
I had four glorious years? programming Shakespeare history cycles and European classics, commissioning new plays and developing young writers. Adrian Noble and the associate directors generously encouraged me to shake things into action and to roam widely beyond my brief. I started adapting literary epics at the RSC with Tim Supple and Melly Still. And now, at Bristol Old Vic, I am dramatising Philip Pullman?s ?Aladdin and the Enchanted Lamp? for Christmas, and directing my version of Michael Morpurgo?s ?Private Peaceful? this autumn.
Script Editor and Associate Producer, BBC TV Drama (1993?1997)
I served an apprenticeship with Simon Curtis on the TV films of Stephen Poliakoff, Paul Greengrass and Lee Hall, amongst others, and brought theatre to the small screen. I also witnessed the BBC?s undignified pursuit of the Lottery and ratings.
Literary Manager, Gate Theatre London (1990?1993)
All theatres should be run like the Gate in those heady days led by Stephen Daldry: with passion, vision and the chutzpah to take on the impossible. I still hold on to that ethos. I won?t let institutions get in the way of individuality, creativity and innovation. I may be canny with budgeting, responsible in management, pragmatic with stakeholders, but when it comes to making theatre, the only rules I like are the ones that demand to be broken. At the Gate I first worked with Lee Hall, David Farr, Robert Bowman, and David Fielding ? all of whom have worked with me at Bristol Old Vic.
Freelance Arts Journalist and Script Reader (1988?1997)
At the beginning of my career I read scripts for many theatres, including Soho Poly ? the then Administrator, Rebecca Morland, would reluctantly hand me my £5 fees from her petty cash tin. I also had a book published about the international touring company Cheek by Jowl, and moonlit as a reviewer for The Financial Times and Time Out. It?s exhilarating to articulate the intellectual, emotional and spiritual experience of theatre to a wider audience ? but not quite as fulfilling as creating theatre itself.