How did you start off in theatre?

I have always wanted to work in theatre. Coming from a small coastal town, the bright lights of the West End seemed a long way off so I opted for the ‘sensible’ choice and did an English degree followed by a PGCE teaching qualification. Every choice I’ve made since has seemed to steer me back towards the arts, from taking classes in movement, clowning and improv, working in theatre facilitation, making my own shows and performing at the Edinburgh Fringe for years to eventually going full-time as an intimacy professional.

How did the teaching side of your job come about?

I shifted from my original job teaching English and drama in secondary school to a career as an intimacy professional. I have found that every part of my work in theatre is enhanced by the skills I honed as a teacher, and I utilise that skill set differently now, teaching in drama schools and leading workshops for adult learners. I still absolutely love teaching.

What is your best advice for drama students and graduates today?

Know yourself. It’s a lifelong quest to understand and stay in touch with who you were, who you are and who you are becoming.

What would you change about the industry?

More accessibility to working-class artists and less reliance on people gaining experience without pay. It would be great to have an initiative such as Ireland’s Basic Income for the Arts, which provides an unconditional monthly wage to ensure creative workers and artists can focus on their art without having to ‘side-hustle’.

What is the best part of your job?

I delight in focusing on the minutiae of intimate storytelling and collaborating with the director and actors to tease out the subtleties and nuances of moments of intimacy. The best rehearsals can seamlessly combine the rigour and respect of consent best practice with creativity and exploration.