Kate Rowland
Kate gave me my first job at the Everyman Theatre Liverpool, helping to run its youth theatre. Then the Everyman was full of maverick artists under the leadership of Glen Walford. I worked with some of the best creative people, most of whom are still my best friends. Kate sawthat I had an aptitude for working with young people, although I clearly had lots to learn. She opened my eyes to what creativity can do for young people and taught me that the best theatre works when the producing organisation has a strong relationship with its audience.
Phil Clark
Theatre director Phil Clark was part of the decision panel that awarded me an Arts Council director’s bursary. I then went to work with Phil at the Crucible Theatre as a young director in 1989. His warm, encouraging and inclusive approach made for a fantastic opportunity to work with a whole host of directors and artists and see first hand how a building produced large-scale work as well producing shows that toured directly to schools.
John Retallack
John gave me the chance to work with some fabulous actors and theatre directors at Oxford Stage Company in 1991 and enabled me to be part of the company from day one. Learning about the workings of a middle-scale company helped me gain insight into how touring companies are run and has helped shape my strategies for the companies I have since managed. He also showed me how he made both classic and new plays relevant to a contemporary audience with simple story telling.
Peter Ward
I have worked with Peter at Hope Street Ltd on and off for many years and have always admired his tenacity: a person who truly embraces the needs of artists and who believes in making thing happen. With clear fair leadership and a great human spirit he is someone who really cares about the accessibility of the arts and creating opportunities for young artists. He taught me that we can make things happen ourselves.
Damian Cruden
Damian, Artistic Director at York Theatre Royal, was part of the interview panel when I was appointed at tutti frutti productions. This has led to a very successful partnership between York Theatre Royal and tutti frutti. He has a true commitment to reaching a broad audience, particularly families and children. His vision – to enable a whole range of artists to work in and around the theatre – is how I believe all arts organisations should operate. His open and truly collaborative spirit, and commitment to reaching children and young people, is a fine example to all of us. Our new co-production, Hare and Tortoise, opened at the Theatre on 22 September.