This trainee’s life


Amid much wailing and gnashing of teeth in our office, this week we are preparing to say goodbye to our latest Arts Marketing Trainee, Sophie Shears, who is heading off to a role in the marketing department of The Globe. Before we let her go, here’s her look back on her time with us.

The past 9 months have been some of the craziest, funniest and also most challenging months of my life so far. So where do I begin?

I turned up on the day of my interview a bit of a Marlowe Theatre novice. Only having seen a couple of vague images of the theatre from google images (and I have to admit I was a little confused as to why there were two very different looking buildings coming up), I had no real idea of what to expect from the building.

Travelling from Southampton, I decided to drive up the night before and distinctly remember wondering what on earth the very large lit up blue tower was sitting alongside the Cathedral in the skyline – turns out, it was where I would be working for the next 10 months! My first reaction when seeing the theatre from the front was ‘Oh…so it’s kinda a big deal then’, I instantly fell in love with it and after my interview had finished I was even more determined to work in a place like The Marlowe, and with the type of industry professionals that I had met that day.

After being offered the job, I was obviously ridiculously excited – as any longing and ambitious graduate would be. I knew that the job would give me the training and knowledge I needed to begin my dream of a career in arts marketing. What I didn’t know is that my time here would also give me the assurance in myself to be able to confidently lead on both marketing and press campaigns, work independently but also be an important part of a hard-working and vigorous team and most importantly be completely supported by your co-workers in everything you do – even the silly mistakes.

From the hundreds of memories, the thousands of laughs and many hungover mornings in the office, I honestly cannot pick one memory as my favourite. But one that stands out in my mind has to be the day myself and fellow baby-trainee, Katy Atkinson, re-discovered Big Blue (our mascot for the Canterbury Children’s Festival) from hibernation. I’ve never seen, and never will see again, someone so eager to put on a giant character costume in my life. From traipsing up and down the theatre in the costume causing all sorts of mischief, to leading her outside and getting mobbed by tourists wanting selfies with Big Blue – that day will stick with me as one of the most surreal moments at The Marlowe. I remember turning to Katy and saying “We’re actually getting paid to do this…”

But it’s not all fun and games – there are some serious sides to being Arts Marketing Trainee! I’ve had the amazing opportunity to really grasp the knowledge of how to market a whole array of genres, from opera and classical music to smash-hit West End musicals, each individual show has taught me something different about the way we execute campaigns. The role really gives you the chance to start with the basics and work your way up to leading on campaigns and really showing what you can do – and indeed what you have learnt.

I’ve discovered so many things about the world of marketing for theatre, but the best thing about working at The Marlowe for me has been (as I said previously) the ridiculously supportive team that surrounds you every day. Not only have I met great colleagues, who have taught me how the industry works, but I’ve also met some of the best people and friends I could have wished for. So thank you and I’ll just mop up the puddle of tears beneath me before I have to call IT for water damage to my keyboard.



 A Day In The Life Of… Paul Turner, Finance Manager


How long have you been working at The Marlowe Theatre?

I joined in July 2011. [That’s just a few months before the new building opened]. For two years before that I audited the theatre’s construction accounts, and then applied for the job as Finance Manager during the final phases of construction.

What inspired you to work in theatre?

When I did those audits, I thought it looked like an interesting place to work. I was at a time in my life when I wanted to go back into doing some form of management, because I took a step back from that when my daughter was born. I’ve always had an interest in the theatre, although obviously that’s grown over the last five years.

How did you get to where you are today?

When I left school I didn’t really know what I wanted to do. I started working in an office and decided that accountancy was for me. I worked mainly for manufacturing companies, before a stint in local government as an auditor.

What does a typical day for you look like?

Long! I’m quite lucky because my job’s really, really varied. I don’t work with one single department, I work with every single department across the whole theatre, from programming to the technical side, to the catering operation front of house, working with creative projects and marketing, so every single department. But, ultimately my whole responsibility is the budget for the theatre, and making sure that balances. So that involves forecasting for shows throughout the year, and turnover for the restaurant and most importantly, looking at profit margins.

What is the best part of your job?

The variety. At the end of the day, accountancy is accountancy, it’s all numbers, but instead of putting out widgets, we’re putting out shows, but to have the excitement of talking about the next production, and to have that relationship with these huge organisations, that’s really exciting.

And what frustrates you about the job?

At the moment, it’s to do with time. We’ve gone through really rapid growth, so there’s not enough time in the day to do everything that I really want to do.

What would you say has been your proudest moment since working at The Marlowe?

Well, as an accountant there’s nothing better than hitting all of your financial targets and we’ve done that for the last three years. But overall, I feel that my job is to make sure we’re maximising our use of our resources, so the fact that our creative department has continued to grow over the last few years  is something I think we should all be proud of.

Favourite productions you’ve seen at The Marlowe?

I’m a big play fan, and I love a farcical play so for me, The Play That Goes Wrong, or The 39 Steps. As a family, we’ve enjoyed Zoo Nation’s two visits, with Some Like Hip Hop and Into The Hoods earlier this year, which was absolutely brilliant.

 Outside of work I…

I’m married, with a thirteen year old daughter –  fortunately my wife and daughter like theatre as well, and they’re very patient with the hours that I work. I do a lot of volunteering – I’m the chair of the finance committee for the Dover Girls Grammar School, which is the school my daughter attends. I’ve been doing that for about 18 months now, that’s great fun I really enjoy it. I also chair the darts league in Dover, because I’m a huge darts fan – we’ve got over 500 people every Friday night playing darts in Dover. And my other passion is the gym – I’m in there about ten times a week.




A day in the life of… Adam Wood, Studio Manager

Adam Wood, Studio Manager at The Marlowe

Adam Wood, Studio Manager at The Marlowe. Photo by Elizabeth Ellis.

Continuing our series of blogposts meeting our staff team, today is the turn of the man behind The Marlowe Studio, Adam Wood.

How long have you been working at The Marlowe Theatre?

I started with The Marlowe in November 2010, wearing a fetching red gilet and green felt cap whilst ushering Peter Pan at The Marlowe Arena. When panto was over I transitioned to the Box Office, which was then based at Sun Street. I opened the new building in October 2011 as part of the Box Office team, got the job as Deputy Front of House Manager in September 2012, and took on the new post of Studio Manager in January 2014.

What does a typical day for you look like?

It’s probably a healthy balance of looking for new shows to come to The Marlowe Studio, talking to the companies behind shows that are coming up, popping my head into The Studio to welcome the company who are performing that evening, and some meetings with colleagues from various departments on all aspects of the day-to-day business of running The Studio.

What inspired you to work in theatre?

I had a job at the theatre in my home town, Hereford, which I returned to during academic holidays whilst studying for my BA. When I graduated that led to a full-time position at a theatre in London called Riverside Studios, and then I moved to The Marlowe (see above!) when I came to Canterbury to study for my MA. I could pretend that all that was to a plan, but in truth it was more happenstance.

How did you get to where you are today?

I just kind of stuck around and made it known I was looking to do more things and different things. I count myself super-lucky that the right opportunities came up at the right times for me: not once but twice a new post was created just as I was looking to make a change of role.

What is the best part of your job?

I get to make a contribution, however small, to the arts. For all of the hard work and the hoops that need to be jumped through—everything that goes into bringing a show to the building or working towards bringing a project to fruition—at the end of it there’s that wonderful feeling of watching an audience commune with a piece of art and really benefit from it. The power of art to enrich people’s lives is absolutely sacred to me, and working in service of that is a privilege.

What would you say has been your proudest moment since working at The Marlowe?

After a lot of hard work, a lot of lessons learned, and a real journey of discovery, it was great to be in the audience when our first in-house production opened in The Marlowe Studio in October 2014. Beached was a project that genuinely stretched the boundaries of what The Marlowe does, and it provided a vital first step down a path we’re now committed to: more new work, more home-made work, a new way to contribute to the artistic ecology of Kent.

Outside of work I…

Read a lot, write a little, drink too much coffee, meditate to alleviate the effects of the coffee, run sometimes, listen to a lot of music and podcasts, and watch films and… all the normal stuff.

Favourite productions you’ve seen at The Marlowe?

Every Brilliant Thing (Pentabus & Paines Plough), which came to us recently, is clever and funny, sad and moving, and just an outstanding piece of writing by Duncan Macmillan, and an incredible performance by Jonny Donahoe.

Dumbstruck (Fine Chisel), was an odd ensemble piece about marine bioacoustics… amongst other things. Quick-paced and whip-smart, it’s also wildly inventive and one of those shows I wish I could go back and see again for the first time.

Fleabag (Drywrite & Soho Theatre), the Olivier-award nominated one-woman show that our friends at Soho brought to us was one of the single best whirlwind performances that has graced the Studio stage, and Phoebe Waller-Bridge’s script is a drum-tight (if filthy) marvel.

And the production you’re most looking forward to?

Next season in The Studio is going to be a lot of fun: we’ve got an absurd physical-theatre love story (Crazy Glue) and a clowning show called that’s going to be an obscenely good time (Pss Pss). But probably the show I’m looking forward to most is He Had Hairy Hands by Kill The Beast: a 1970s werewolf detective mystery that has to be seen to be believed.

There are also some secret things I can’t talk about that are in the works, which are very exciting, so I guess keep an eye on the website and the Studio brochure.

Any advice for someone looking to get into theatre?

I don’t think there’s a set answer to this, and I can only really speak to my experience. But if it’s something you really love and want to be a part of, find a way to get your foot in the door—put on that gilet and the felt hat if you have to—and then stick around, do good work, and make it known that you’re interested in progressing. I think the arts in general, and perhaps theatre in particular, provide an environment that really allows for and encourages people to give what they can, in the knowledge that it won’t go unnoticed.

A day in the life of… Marissa Garbo, Programme Administrator

Marissa Garbo, Programme Administrator. Photo by Helene Skoge.

Marissa Garbo, Programme Administrator. Photo by Helene Skoge.

In this series we’re taking you behind the scenes at The Marlowe to meet our brilliant staff team. Previously we’ve found out about Deputy Stage Door Keeper Will MillarCreative Projects Officer Andrew Dawson and Arts Marketing Trainee Nadia Newstead. Now, it’s the turn of Programme Administrator Marissa Garbo.

How long have you been working at The Marlowe Theatre?

I started working at The Marlowe in April 2013 as a member of the Front of House and Box office team in a zero hour and then a full time capacity. I then moved in to the role of Programme Administrator in September 2014.

What does a typical day for you look like?

It’s quite varied, which is nice, and can be anything from liaising with producers of the shows, working out the programme [calendar of booked shows] with the Theatre Director, drafting and issuing contracts, negotiating deals, working on performance schedules and ticket prices with our Head of Marketing, and in the midst of all this replying to the many enquiries that we have come through!

What inspired you to work in theatre?

I had always been involved with youth theatres, drama and dance classes and amateur societies as a child and naturally progressed into doing Drama and Theatre Studies at GCSE, A Level and University.

I originally wanted to go into performing but throughout University I learnt a lot more about the practical and business side of theatre and really enjoyed the process of putting a performance on. In my final year of University I specialised in producing where I got the opportunity to do some work experience and internships with a theatre venue and opera company in London. I then decided that was what I wanted to do.

How did you get to where you are today?

Through getting as much experience in the industry as possible from work experience and internships and trying to learn as much as possible. Working at The Marlowe really helped in giving me the grounding experience and knowledge of how a theatre runs both front of house and backstage. It’s not an easy industry to get into but as long as you persist with it, work hard and keep asking questions, eventually the right doors will open.

What is the best part of your job?

Getting to help decide and develop our programme, and seeing how shows and projects we put on really inspire and give audiences an amazing experience.  That’s what makes the job worthwhile.

And what frustrates you about the job?

There are so many great productions out there and not enough weeks in the year so it’s hard to fit it all in and get the balance right. It’s frustrating when you can’t take something good or make it work.

Outside of work I…

I’m a keen Ballroom and Latin Dancer and attend classes. I go and see quite a lot of shows around London and the South East as well as at The Marlowe.

I also own my own company Laid Bare Productions and produce Laid Bare Cabaret at The Marlowe Studio which has been very successful and is continuing to grow.

Favourite production you’ve seen at The Marlowe?

There are so many to choose from but probably Fiddler on the Roof because the whole production from the set to the actor-musicians was so impressive and it was such a high quality show.

I also loved Matthew Bourne’s Swan Lake. I’d never found ballet that exciting to watch and then I was completely blown away and moved by it. I couldn’t believe how he had taken this art form and made it appeal to a modern day audience, made the story come alive, and really made you think deeper about what was going on.

And the production you’re most looking forward to?

I am really looking forward to The Curious Incident of the Dog in the Night Time. I’ve read the book and am really intrigued as to how they have transferred it from page to stage. I have also heard amazing things about the show from friends and colleagues who have seen it.

Any advice for someone looking to get into theatre?

Get your foot in the door by working in a theatre or getting some work experience. The more you do, the more people you meet and the more opportunities arise.

Ask as many questions as you can from people in the industry to try and learn about the different roles and how it all operates. Theatre is a nice industry and people will be willing to give you advice and answer questions. Be tenacious and be prepared for it to take a while. In interviews I advise to be passionate about what you do, have your own opinion and be yourself.

If all else fails don’t be afraid to take that leap and set up your own company and get your work, ideas and talents out there.

A day in the life of… Will Millar, Deputy Stage Door Keeper

Will Millar, Deputy Stage Door Keeper at The Marlowe Theatre. Photo by Tim Stubbings.

Will Millar, Deputy Stage Door Keeper. Photo by Tim Stubbings.

In this series we’re taking you behind the scenes at The Marlowe to find out about our staff. Our previous colleagues under the spotlight have been Creative Projects Officer Andrew Dawson and Arts Marketing Trainee Nadia Newstead. Now, it’s the turn of Deputy Stage Door Keeper Will Millar.

How long have you been working at The Marlowe Theatre?

It’ll be exactly 3 years on 14 September! I started a few weeks before we officially opened; it was still a bit of a building site then.

What does a typical day for you look like?

Stage Door is open before everyone arrives and we close after everyone has left. For a 7am start, I wake up at 5.30am to be at work for 6.50am. The first hour is spent doing the previous day’s paperwork, having a cup of tea and a sing-song with the housekeepers. If it’s a day when a show is ‘getting in’ then it is very busy with cast, crew, postmen and visitors. It’s not a job for those who get flustered under pressure.

There are two full-time staff on Stage Door; Natalie and myself – one of us does a week of ‘earlies’ while the other does the ‘lates’. Week-long shows always ‘get out’ after the show on Saturday – so it’s not uncommon for Stage Door to be here until 5am on the Sunday morning. We couldn’t stay awake without copious amounts of junk food and lots of sugar!

What inspired you to work in theatre?

It was actually quite convoluted. My first dabble at it was aged 11 when I was stage crew for a school production – a post I was urged to fill as I was a very sensible child! Fast-forward four years when a friend of mine mentioned that they built sets at one of the local theatres on Monday and Tuesday evenings. Ever the tag-along, I showed up (aged 15) with a toolbox in hand and a very timid voice.

Within 6 months I was at the theatre every evening building sets, designing lighting plots, running shows – just about everything you can think of. I would literally run from school to the theatre and head home about 11pm to sleep then do it all again the next day. You soon learn how to shout above power tools.

What are your first memories of theatre?

I remember seeing a touring production of Alice In Wonderland at my school when I was 6. I had to be taken out halfway through because I cried when the Cheshire Cat lost his smile. The first professional show I saw was Riverdance at the Hammersmith Apollo in 1996. It remains one of my favourite shows.

What is the best part of your job?

When cast and crew from previous shows come back with different shows. It’s like seeing old friends. There are several Company Managers whom I keep in touch with outside of work.

Outside of work I…

Can you guess? I run my own theatre company – ‘Back of House Theatre Company’ who have hosted two shows in The Marlowe Studio: One Flew Over The Cuckoo’s Nest (September 2013) and Metamorphosis (April 2014).

I’m happy to say that it has gone from strength to strength and we are currently putting together our new show Horror Box. We’ve written and created something that is the closest thing to a horror film in live theatre form. We’ve been very lucky to receive a Grant for the Arts from Arts Council England for this particular production, something that is not easy to come by. It’s a clear indication that the Arts Council are recognising our work and supporting us on our journey.

I’m also an avid magician, musician and aviator – I’m currently working towards my private pilot’s licence.

Favourite production you’ve seen at The Marlowe?

I was dreading this question! There are so many that have been exceptional. If I had to choose one, it would be Some Like It Hip Hop because I went in expecting to be totally out of place (I know as much about dance as Mr Kipling knows about submarines) when in fact I was completely taken in by the story and the staging that I had goose bumps for the majority of the show.

And the production you’re most looking forward to?

Can I say Horror Box? If not, then it has to be An Evening with Roger Moore – the man is a legend!

Any advice for someone looking to work in theatre, or produce their own work?

In regards to producing your own work, if you have a story to tell that you believe in and want to share its message then that is the biggest driver. It gets to a point where you have to tell it because not doing so would be detrimental to your development as a person. I very much believe in the saying “love what you do and you’ll never work a day in your life”.

I’m very fortunate to be able to work in the theatre world because periods where I haven’t been able to work in it, have been like losing a part of myself. Local amateur theatres are the backbone of your journey – learn from the ground up. I learnt so many skills from being thrown in at the deep end. It’s a long journey but that isn’t a negative; there’s only one way to eat an elephant – a bite at a time.

Goodbye from our Arts Marketing Trainee, Nadia Newstead

The Marlowe Theatre's Arts Marketing Trainee Nadia Newstead

Arts Marketing Trainee Nadia Newstead

Each year at The Marlowe we take on three trainees in Arts Marketing, Arts Management and Technical Management. These are full-time paid positions where you become fully integrated in the teams – learning on the job and taking on your own responsibilities over the year.

Our current trainees are coming towards the end of their contracts, and our colleague Nadia, Arts Marketing Trainee, is leaving in just two weeks time. We’re so sad to see her go but also thrilled for her to be taking up the position of Marketing Assistant at Soho Theatre. She takes us through her experiences as a trainee ahead of saying her goodbyes…

How do you distil 10 months of your life into just a few hundred words? It’s impossible, no? Well I’ll do my best for you.

Let’s start at the beginning. When I got the call to say that I had got the job of Arts Marketing Trainee at The Marlowe I was nothing less than thrilled. It was exactly what I wanted to do and I knew it would give me that elusive one year’s experience needed to secure a permanent job in theatre administration, which is what I had been trying to achieve since graduating, without much success.

What I didn’t know was it would give me was the confidence and skills to plan and execute my own marketing campaigns, the chance to be a valued member of a dynamic and hard-working team, and some of the best laughs of my life.

I know that at the end of an experience it’s easy to see everything with rose-tinted glasses – to say that everything has been amazing and that it’s hard to pick a stand-out moment so I will try to be realistic.

There have been days where my stress levels have been higher than I would have liked, times where I have disagreed with colleagues and moments where I have wanted to go out to the yard and dance my frustration out, but there has never been a day where I have not wanted to come to work, not even when it’s been a 4.30am start or a Sunday.

Nadia adjusting costumes during a photo shoot for our pantomime Aladdin.

Adjusting costumes during a photo shoot for our pantomime Aladdin.

I have learnt about marketing different genres of shows, different marketing techniques – both traditional (posters around town) and modern (harnessing the power of social media), the importance of brand, press relations, planning and executing external events, how to lift many, many boxes, how to drive a van (!), how to work in a team and across departments, how to be flexible in the way that I work and how to get the job done.

The traineeship is brilliant because it gives you the chance to work alongside professionals and be part of a functioning theatre for a whole year; you can experience the successes and failures with your team – you can actually get to know your team properly!

This isn’t an internship, or at least not in the way that we have come to understand internships, as one, three or six month unpaid stints where you hope against hope for a job at the end. This is a paid position, where you are given basic tasks at the beginning but build up to running your own projects.

On my first day I was tasked with creating an inventory of all the print in the building. Now, I manage all incoming print and its distribution across the region, I send all the emails to our 30,000 strong database, I’ve managed two show campaigns, I’ve run external events, I’ve been the monster at Canterbury Children’s Festival (if you met Big Blue, that was me) and the back end of the pantomime cow!

Each week I have learnt something different about myself and theatre marketing.  I’ve been allowed to make mistakes and see how to rectify them. I can honestly say that I have laughed every day – even the bad ones. The Marlowe Theatre is one of the largest and best regional theatres in the country, where better to learn about theatre marketing?

I know that the scheme works because I am moving on to be Marketing Assistant at Soho Theatre in London. Not only do I have that elusive one year’s experience, I have new skills, great memories and fantastic colleagues and friends.

So apply, you know you want to.

Applications for our Arts Marketing, Arts Management and Technical Management traineeships close on Tuesday 22 July. Click here for more information on these positions.

A day in the life of… Andrew Dawson, Creative Projects Officer

Creative Projects Officer Andrew Dawson at The Marlowe Theatre

Andy leading a session for our adult acting class, The Marlowe People’s Company.

In this series we’re going to take you behind the scenes at The Marlowe to find out about our staff. Whether you’re looking to work in the arts (but not sure what’s out there) or you’re just curious about what goes on within our building, we hope you’ll enjoy getting to know our wonderful team.

Our first colleague under the spotlight is Andrew (Andy to us) Dawson, our Creative Projects Officer. Having joined us just over a year ago, Andy’s schedule has been pretty full on.

From working with local schools on the Royal Shakespeare Company’s Learning and Performance Network, directing The Massacre At Paris at Canterbury Cathedral and our community production The Garden Of England, to more recently leading a “monster hunt” during Canterbury Children’s Festival, there’s never a dull moment!

What does a typical day for you look like?

The days are very varied and that’s what I enjoy: the variety of the job. One day I might be writing a new plan for a project or a script, speaking to teachers or partner organisations, rehearsing with a company or our creative classes. Inevitably there’ll also be the more mundane tasks such as getting through emails and admin. There’ll be coffee (to help with the admin) and there are bound to be meetings.

What inspired you to work in theatre?

Let me take you back to 1994…Oasis had just released Supersonic and television had four channels: I was a suburban teenager full of righteous indignation at the way the world didn’t work. One day, probably when my Public Enemy and Rage Against The Machine tapes were wearing thin, I signed up for a trip to see a young Michael Sheen as Jimmy Porter in Look Back In Anger at The Royal Exchange, Manchester.

What I saw was raw angst resonate in that theatre – vital and defiant. It was a play, forty years on from its opening, that still managed to rip off the smothering pall of establishment respectability, of manners and mannerisms, and scream “I won’t do what you tell me!”.

To me it sounded like Rage Against the Machine, Chuck-D or punk rock but looking and sounding a bit more like me and still grappling for a purpose. It was still shocking, still uncertain, a blow to the stomach…and I was hooked.

I’d slightly distrusted theatre at school. It was something you did for a pat on the head – being told to walk on stage, stand in the right place and say your lines nicely so your parents could clap. I now had a very different model. I auditioned for the school plays and got the lead. I kept doing plays, started directing my own and discovered Shakespeare, Arthur Miller and Harold Pinter: ruining my parents’ hopes for me of a steady, respectable career.

So how did you get to where you are today?

It’s a long and winding road…I was an actor, teacher and freelance director. I won’t regale you with too many stories of selling buttons, baking bread and all the other jobs I did between acting gigs!

I was always in search of a better sort of theatre that was is in genuine conversation with a community: listening, challenging and debating; championing aspirations and dreams; celebrating its culture and opening its embrace.

Theatre is a vitally communal experience – it must be about people and how we relate to each other. It is live, in the flesh, unmediated by technology or governed by authority. I wanted to find space to make theatre that was interested in truth as well as beauty and doesn’t reduce art, artist, audience to mere commodity. The Marlowe was a new theatre – or at least a new incarnation of a theatre – with a new space in The Marlowe Studio. I strive to make theatre like that here.

What is the best part of your job?

Seeing the work come together: the actors, participants and audiences delight in the experience.

What would you say has been your proudest moment since working at The Marlowe?

Our community production The Garden Of England in April this year saw a gargantuan task realised. It was great to see our professionals, participants, partners and volunteers working together to create an eloquent conversation on important ideas that involved so many in our community, from the very young to the very young at heart. Seeing that come together was a moment of tremendous pride, relief and also excitement at the possibilities this suggested for the future of The Marlowe.

Seeing the performances grow and develop within that week was particularly gratifying. It was engaged with serious issues that affect us all yet simultaneously managed to be fun and playful.

Favourite production you’ve seen at The Marlowe?

The Paper Birds Theatre Company’s Blind (back this Autumn) moved me to tears but Soho Theatre and nabokov’s Blink was breathtakingly beautiful. Both of these have been in our Studio.

And the production you’re most looking forward to?

That’s a tough one. There are some great things coming up such as Matthew Bourne’s Lord Of The Flies and the Royal Shakespeare Company’s Henry IV Parts One and Two (two of Shakespeare’s finest and most underrated plays).

It’s The Marlowe Studio that really excites me as it’s where the new, bold writers, performers and artists get to develop their work and share it with an audience. Our new season will be announced soon…

Any advice for someone looking to get into theatre and education work?

Always strive to do the work that excites you but remember as far as everyone else is concerned, it’s not about you and that’s how it should be.

Click here to learn more about our writing and acting workshops, and our work with schools. The Marlowe Teachers & Schools Programme is supported by The Samuel Feldman NEC Fund.