My gurus: ‘Improvisational, inspirational and a bit bonkers’

Starting out, the only thing I knew was what I didn’t want, which was to perform. My time at university marked the beginning of shaping what I did want.

Linda Ludwin – Lecturer, De Montfort University

Sadly no longer with us, Linda was a colossus in arts education circles and somewhat intimidating to this fresh-faced 18-year-old, newly arrived at university with hopes of a career in arts management.

Linda was a no-nonsense, American arts administrator who made me understand the integral role arts managers play in the creative process. She also made me understand the self-awareness I would need to establish my own creative identity. 

She extolled the virtues of Accu-type which we had to ‘pass’ to graduate. To this day, that directive alone has made my professional life so much easier.

Jenny Harris – Head of education, National Theatre

My first job as an administrator in the Education Department at the National straddled the end of my time at university. I found the National daunting with its endless corridors, stern faces and an unrelenting tradition.  

As head of the department, Jenny initiated a range of groundbreaking projects, such as Shakespeare in Primary Schools and teacher training. She was everything the National didn’t seem to be: improvisational, inspirational and just a little bit bonkers.

A true arts innovator, Jenny taught me about instinct, trust and the positive impact art could have on young people’s lives. This underpins much of the work I still do in the field of training, access and equality of opportunity with Stage One. 

She was a pioneer in art effecting social change and she dedicated her life to convincing those in positions of government power that this was the case. She was a true one off.

Trevor Nunn – Artistic director, National Theatre

Trevor was AD for six of the years I worked at the National. At first he seemed distant, unreachable and very much part of an establishment – he seemed the very opposite of my work with Jenny. I felt a huge emotional and professional disconnect which led me to take a sabbatical in my late 20s. 

On returning, I gained perspective and began to appreciate the depth of the theatre’s work and where I fitted into that ecology. I began to see a side to Trevor that was part traditional but also part disruptor. I understood how someone could appear to be of the establishment but be radical inside. I had the opportunity to work with him on the Transformation Season (2002) that he championed. It was an ambitious concept that invited new theatre makers into the National alongside a radical new approach to programming and staging productions. 

We shared that vision of access and opportunity both for audiences and artists, including unlocking the potential of younger staff at the National, enabling them to step up and contribute in an impactful way. 

Trevor’s energy, willingness and, at times, stubbornness were all traits that showed me that if you can find that balance between tradition and innovation, it’s often a winning combination. 

Stage One’s Intro to Producing workshop. Photo: Alex Newton

Tom Hulce – Producer and actor

I knew of Tom from his performance as Mozart in the film Amadeus – and I was a little star struck when we met. It was a particularly lonely time when I was unsure whether I’d made the right decision to move to New York to work in a production office for Broadway and Off Broadway shows. 

Tom was partnering on the US premiere production of Alan Bennett’s Talking Heads opening there. From the start, he was inclusive – giving space for ideas and opinions – and selfless in his commitment to making the project work. He became a close colleague with a very pragmatic and grounded take on the industry that could have only come from years spent in the jumbled world of film and Hollywood. 

I’ve never seen anyone so seamlessly transition between self-assurance with creative teams and actors and supreme confidence on the business side too, producing, raising money and leading a producing team. 

He is funny, with a wicked sense of humour and doesn’t suffer fools gladly. He has the measure of most people, alongside an ego that never gets in the way of the work. He always puts the work first. He only collaborates on a given project if it moves it on in a positive way. A real inspiration to me and my work.  

Andrew Treagus – General manager and producer

Starting out at Stage One was one of those imposter moments. I was not yet confident that the various strands of my career would come together to effectively support others – in this case, early career and emerging producers. 

The late Andrew Treagus taught Stage One’s notorious three day Intro to Producing workshop which was the gateway for producers into the organisation. He was the foremost general manager in the West End and an inspiration to generations of producers. He was a brilliant teacher: patient, kind, pragmatic and thoughtful, but always with a steely edge and a hardwired bullsh*t detector. His knowledge was unrivalled. 

So many of the current generation of producers owe their foundational knowledge to Andrew. He was inspiring to work with. We sparred, challenged each other and had a lot of fun. What always came through was a deep respect for each other’s work and the role of the producer.

Through his teaching, he helped me define myself as a producer. When I am confronted with a producing dilemma, I often think: What would Andrew do?  He is sadly missed, but it gives me great comfort that the producing workshop is now named after him.

*Stage One is a UK charity that supports emerging and early career theatre producers.