How did you start off in theatre?

I was determined not to be an actor. It is too precarious a lifestyle with no guarantees of work – so I did an English degree and promptly spent three years acting, directing and doing the Edinburgh festival. To this day, I have no idea how I managed to get my degree. I then applied to Guildhall, got in and never looked back.

How did you move into coaching?

I count myself extremely lucky to say that I had a career as a working actor that I loved. It gave me the chance to be a part of everything that I’d ever creatively dreamed of – from the Royal Shakespeare Company, National Theatre and West End to Absolutely Fabulous. However, as a woman, getting older in this profession is tough, and I wasn’t getting the same level of work offered.

It was my good fortune to be asked to coach at the Actors Centre (a creative and supportive hub for professional actors that is, tragically, now closed). It was here that I found a new outlet for my creativity and all the knowledge that I’d accrued over many years in the profession. Most importantly, I found that I loved teaching. Playing a small part in an actor’s development, while they find new strengths and develop old ones, is hugely rewarding.

What is the best piece of advice you have for students and graduates today?

Your individuality is your superpower.

Who are the practitioners you admire and why?

It’s helpful to explore as many practitioners as possible. No two jobs are ever the same, and having a decent knowledge of ways to support yourself outside the rehearsal space is incredibly useful.

I rely heavily on Stanislavski (An Actor Prepares) in my teaching. I find the forensic approach that comes with his use of ‘actioning’ a text demands and rewards the actor with a level of detail and colour that might otherwise get overlooked.

What is the one skill that every successful theatre professional should have?

It’s difficult to identify just one skill, but I tend to find that the most interesting and inspiring theatre actors share common traits, such as a ferocious curiosity, keen imagination and the courage to make choices in their work that I would never have thought of.

What is a tip that readers could put into practise today to increase their mental and physical well-being?

Find your community, your tribe. This can be a regular drop-in acting class or improv group – anything that gets you out of the sensation of feeling isolated. In a profession where you can often feel at the mercy of a phone call from your agent, being proactive can help you towards finding a sense of ownership again.