Theatre · general management & producing
I cut my teeth with the big guns. Then I fell for the boutique ones.
Ten years in London theatre — the Royal Opera House, ATG Productions, international transfers, festival general management — before bringing all of it to the productions where one good organised person changes everything. If you're a producer, writer or director who wants a GM who actually loves this industry: hello.
What I do (happily)
The unglamorous machinery that lets the glamorous thing happen. I find it genuinely satisfying, which is lucky for both of us.
General management
Company management, scheduling, venue liaison and the thousand small decisions between a signed deal and a first preview. GM for Catalyst Festival: 22 productions, delivered with a 20% cost saving.
Contracts & deals
Negotiating and administering agreements with agents, creative teams, venues and rights holders — 70+ venue and licensing contracts in a single role, without a single opening delayed.
Budgets & money
Production budgets from £10k to £2m, weekly payroll for 100+ freelancers, royalties, licensing fees, investor reporting. Numbers that reconcile and reports producers can actually read.
International transfers
Taking shows across borders without losing the show (or your mind) — contracts, logistics, compliance and stakeholders across multiple territories.
Community & engagement
Participation projects with real budgets, real funding applications and real outcomes — devised with communities rather than delivered at them.
Calm
Officially "praised for calm organisation and maintaining project momentum under pressure". Unofficially: the person you want next to you in the week before opening.
Four stories instead of a skills list
Picked deliberately for breadth — because the job is never the same twice, and neither am I.
Fisherman's Friends the Musical — the international transfer
Led the transfer of a beloved UK musical to Canada: contracts, logistics and stakeholder wrangling across territories, plus weekly payroll for a company of 100+ freelance staff, royalties and licensing. The show travelled; the paperwork behaved.
Fiesta — the community showpiece
Managed a community engagement production end to end — secured external funding, commissioned services, led the project team — delivered within budget and beyond its participation targets. The project closest to my heart, and the best proof that rigour and warmth aren't opposites.
Queensland Performing Arts Centre — the big machine
Programme manager inside one of Australia's largest arts organisations: a portfolio of concurrent projects across venues, departments and international partners, including a state-wide broadcast reaching 7,000+ viewers — delivered under budget.
Catalyst Festival — 22 shows, one GM
Appointed General Manager during my MA in Creative Producing: 22 hybrid productions with professional creative teams, all contracting, budgeting and compliance — landed with a 20% cost saving and a sustainability agenda that actually survived contact with production week.
Where I learned it
Employers, clients and stages that shaped how I work.
Also fluent in: property, planning and finding rehearsal rooms in unexpected places. That story lives here →
Shall we?
Whether it's a full general-management engagement, a production that needs rescuing into shape, or a transfer with more moving parts than cast members — I'd love to hear about it.