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Just how does an arts practitioner climb the career ladder? ArtsProfessional?s series finds out how the sector?s managers and directors made it to where they are today!

Chief Executive, The Stables Theatre, Milton Keynes (2003 ? To Date)
My dream job! With more than 200 concerts and 250 education events each year, The Stables was founded in the 1960s by John Dankworth and Dame Cleo Laine, to break down barriers between different music genres and audiences. In October 2000, it opened its doors on a new Lottery-funded concert hall. Its unique atmosphere and heritage have enabled it to attract major music artists and regular Radio 2 broadcasts, despite its limited capacity of 400 seats. My first challenge was to get the operation to a break-even position for the first time in four years. Thanks to a dedicated team and experienced board we achieved that, but we still have much to do to recover from the capital debt arising from the building project. Looks like I?m in for a few more sleepless nights before I retire!

General Manager, Watersmeet Theatre, Rickmansworth (2001 ? 2003)
This was my long-awaited move back into general management in a 500-seat venue, but local authority cuts were biting deep and despite increased attendances and falling levels of subsidy, the Council announced its closure without warning or consultation. After a valiant fight by staff and customers the Council agreed to consider a Trust option and I contemplated another move!

Principal Arts Officer, Bedford Borough Council (1999 ? 2001)
This move gave me experience of working with local authority elected members, and improved my chances of moving into venue management at a senior level. The highlight was working with an inspiring team of community arts workers and the opening of a new film, photography and media gallery which we fought very hard to establish (and I?m proud to say is still flourishing). My learning point ? it?s easier to ask for forgiveness than ask for permission!

Executive Director, Youth & Music, London (1998 ? 1999)
I moved for money and the chance to work in London and in an international arena. This was probably my biggest mistake. The Artistic Director who appointed me died a few days before I was due to take up my post and I was thrown into the deep end without a life-belt. Aside from the international youth music projects, we managed Stage Pass, a National Arts Discount Scheme for Young People that was struggling to maintain its purpose in the myriad of audience development initiatives that sprung up in the late 90s. Although I missed working in a venue, I did polish up my French, my fundraising and my ability to work with a Board.

Marketing Manager, Derngate Theatre, Northampton (1995 ? 1998)
Working at The Derngate initially felt like walking into a job as a City stockbroker. It was a fast-paced environment and the only way to keep up was to be ruthless, put in the hours and enjoy the challenge! Our proudest moment was selling out a week-long run of Rambert Dance Company ? and when I say sell-out, I mean every last seat in the hall! I learnt loads here and owe a great deal to its charismatic leaders.

Head of Marketing, The Belgrade Theatre, Coventry (1993 ? 1995)
The Belgrade gave me experience of working in a Rep, developing strategic plans, and helped me to gain an understanding of how to cope with the whims of the Artistic Director. The Belgrade had four resident at the time, which made life interesting!

Assistant Manager, Leighton Buzzard Theatre & Arts Centre (1990 ? 1993)
The time I spent in a small-scale receiving theatre in Leighton Buzzard, following my Post-Graduate Diploma in Arts Administration from City University, turned out to be the foundation for everything I have subsequently gone on to do. I got hands on experience of marketing, sponsorship, front of house, financial management, grant applications and even found myself projecting the odd film or two!