What was your first job in the performing arts?
Being a member of the children’s chorus with Opera Australia.
Who has been the most influential mentor or figure in your journey, and what did they teach you?
William Lyne, who led Wigmore Hall for 37 years. He transformed it into one of the world’s leading chamber music venues. When I met him in the mid-’90s, he was incredibly generous with his time. He encouraged me to consider arts administration—a career path I hadn’t even thought about.
What’s the best piece of advice you’ve ever been given?
Also from William Lyne: “If you have an idea and want an artist involved, always ask. You never know what they might say.” Those words have stuck with me ever since.
What advice would you give someone starting out in the industry?
Ask for help. When I first arrived in London in 1993, I didn’t know anyone—but I started reaching out, talking to people, asking for advice. I only realised later how valuable that was. People are usually happy to help, especially if you’re honest and open.
What’s one unexpected skill you’ve picked up along the way?
Developing an unexpected interest in local government. At Brighton, I found myself increasingly engaged with local politics—it turned out to be vital in steering the organisation and connecting us to our community. It also deepened my appreciation for local democracy and the role it plays in cultural life.
What’s always at the bottom of your to-do list?
Going for a walk! Our offices are surrounded by the most glorious landscape at Snape, overlooking reed beds and the estuary. But I don’t get out in it nearly enough.
If you weren’t working in the performing arts, what other career would you have chosen?
It’s hard to imagine—I’ve always wanted to work in music. But looking back, I think I would have worked in a charitable organisation. I’ve always admired grassroots charities that arise out of real community need—where people come together to solve something urgent. That spirit of collective action really resonates with me.
