Hello! Thank you very much for visiting my site. I am a Producer and Director with a breadth of experience across the creative industries, having worked and trained in television, theatre, dance, music and live events.
I am at my happiest and most innovative when working on projects that combine several of these disciplines and am well-versed in finding unique and exciting ways to integrate them.
NEWS! I’m very excited to announce that I have been selected as one of Edinburgh TV Festival’s Ones to Watch 2020!
LOCKDOWN PROJECT:
COMING SOON
I am an experienced programme-maker, and have been developing and producing high-profile television content for just over a decade. I have often been tasked with working up ideas from their very early stages; my credits include the first series of The Real Marigold Hotel, the pilot of The Secret Life of 4 Year Olds and four Stacey Dooley films. I have developed and made programmes for broadcasters such as the BBC, Channel 4, Channel 5, ITV, Discovery TLC and National Geographic.
I have a great deal of experience negotiating sensitive access, casting contributors with great stories, setting up shoots, and filming both in the UK and internationally. I self-shoot and can edit.
In recent years, I have had the opportunity to get my teeth into leading projects with no real precedent or template to follow. In 2017, I joined the team at online careers guidance platform, Unifrog, in order to produce a series of short films for their site. I worked to a brief supplied by the director of the company, whilst using my creativity to develop the concept and ensure the films were engaging, suitable for the demographic, and delivered to the highest possible standard. With the help of a researcher, I cast the students, obtained access to the universities, shot and edit produced the films.
Filming Brainwashing Stacey for BBC Three
Filming Brainwashing Stacey for BBC Three
In recent years, I have had the opportunity to get my teeth into leading projects with no real precedent or template to follow. In 2017, I joined the team at online careers guidance platform, Unifrog, in order to produce a series of short films for their site. I worked to a brief supplied by the director of the company, whilst using my creativity to develop the concept and ensure the films were engaging, suitable for the demographic, and delivered to the highest possible standard. With the help of a researcher, I cast the students, obtained access to the universities, shot and edit produced the films.
With Roy Walker filming the first series of The Real Marigold Hotel for BBC One
In 2018, I joined Polar Media, and worked alongside the director to lead the company’s diversification into television. I managed a small team, built a slate from scratch, managed the developments from conception through to pitch, established relationships with commissioners across the major broadcasters, and liaised with talent and their agents. As well as heading up weekly brainstorming sessions, and conceiving, writing and pitching new programme ideas, I assisted the director in building a five-year business plan and advised on overall strategy – from the best ways of getting in front of commissioners, to appropriate website content, to projecting departmental costs. It was an enjoyable and rewarding challenge.
Due to Polar’s success in the field of virtual reality, my team and I developed several television ideas utilising that tool. I am proud that Polar was one of the few indies pitching this kind of content, and credit us with being one of the few groups of people that helped to drive a transition within the TV industry; from VR being alluring but impractical/superfluous new tech to becoming something with real viability, with which commissioners from major broadcasters were willing and excited to engage. Some even visited our office in an effort to understand how the integration was working and collaborate with us on new developments at the earliest stages.
The type of content that we were pitching can now be seen on channels such as BBC Two (Your Home Made Perfect) and YouTube Originals (Virtually History: The Berlin Wall). Although I must make it clear that we were not involved in either of these projects, I find it very rewarding to have been one of the producers that got commissioners to take notice of this unique and liberating storytelling tool, and to see it now gaining success in a variety of genres.
Filming The Secret Helpers for BBC Two
Filming The Secret Helpers for BBC Two
Due to Polar’s success in the field of virtual reality, my team and I developed several television ideas utilising that tool. I am proud that Polar was one of the few indies pitching this kind of content, and credit us with being one of the few groups of people that helped to drive a transition within the TV industry; from VR being alluring but impractical/superfluous new tech to becoming something with real viability, with which commissioners from major broadcasters were willing and excited to engage. Some even visited our office in an effort to understand how the integration was working and collaborate with us on new developments at the earliest stages.
The type of content that we were pitching can now be seen on channels such as BBC Two (Your Home Made Perfect) and YouTube Originals (Virtually History: The Berlin Wall). Although I must make it clear that we were not involved in either of these projects, I find it very rewarding to have been one of the producers that got commissioners to take notice of this unique and liberating storytelling tool, and to see it now gaining success in a variety of genres.
Filming Richard Hammond’s Secret Service for BBC One
From the age of 3, I attended Saturday dance classes. Around the age of 10, I developed an incurable obsession with recording (to VHS!) every single dance routine shown on Top of the Pops and CD:UK, and then diligently replaying them over and over (and over!) until I had learnt them perfectly, occasionally incorporating some of my own choreography.
In 2001, at the age of 14, my passion for the creative arts evolved from hobby to vocation. I was accepted into The BRIT School – at the time, the only free performing arts school in the country. I was lucky enough to spend four glorious years there, majoring in dance and then musical theatre. My cohort included Adele, Katie Melua, Jessie J, some of The Kooks and many others who may not be household names but are extremely successful across the creative industries.
As much as I loved the multitude of opportunities to participate in pure music and dance, I attribute much of my subsequent professional success to the plethora of projects that nurtured our all-round artistic capabilities. It was at The BRIT School that I first learnt how to devise an original, cutting-edge piece of content, craft a narrative, communicate with an audience, and many, many more skills that I still use every single day.
Later, whilst studying for a BA in Television and Radio at The University of Salford, I found several other opportunities to devise and direct thought-provoking, boundary-breaking content, in a variety of disciplines. I created programming for Manchester’s Channel M, and also worked at the university radio station, Shock Radio (which also counts Jason Manford in its alumni). At Shock, I produced and presented radio shows for broadcast and held the roles of Head of Production and subsequently, Station Manager. It was here that I learnt the joys of OFCOM paperwork!
It was also at Shock that I first learnt about a brand new thing called “podcasting.” It was 2007 and my Head of Programming convinced me and the rest of the team that we should be making podcasts, as they were going to be The Next Big Thing. I can take no credit for being an early player in the podcast game but I’m very glad to have been a part of it, and in recent years, to have seen their popularity and production grow exponentially – that Head of Programming was way ahead of his time!
Station Manager, Shock Radio
Station Manager, Shock Radio
Later, whilst studying for a BA in Television and Radio at The University of Salford, I found several other opportunities to devise and direct thought-provoking, boundary-breaking content, in a variety of disciplines. I created programming for Manchester’s Channel M, and also worked at the university radio station, Shock Radio (which also counts Jason Manford in its alumni). At Shock, I produced and presented radio shows for broadcast and held the roles of Head of Production and subsequently, Station Manager. It was here that I learnt the joys of OFCOM paperwork!
It was also at Shock that I first learnt about a brand new thing called “podcasting.” It was 2007 and my Head of Programming convinced me and the rest of the team that we should be making podcasts, as they were going to be The Next Big Thing. I can take no credit for being an early player in the podcast game but I’m very glad to have been a part of it, and in recent years, to have seen their popularity and production grow exponentially – that Head of Programming was way ahead of his time!
Dancer & Co-choreographer in Bugsy Malone, Almost Famous Theatre Company
During my time in Salford, I also joined Almost Famous Theatre Company (which, incidentally, was actually founded by Jason Manford – seems we’re into similar things!). Deciding I’d left my performing days behind, I initially worked within the technical crew to add lighting, sound and stage management to my CV. However, when a friend was approached to choreograph one of their shows, she asked me to work with her and – for want of a better cliché – it was the beginning of a magnificent partnership! Leah and I worked together to choreograph a multitude of musicals over a three-year period, discovering that we had a flair for creating movement designed to make both accomplished dancers and complete beginners look great, often infused with a healthy dose of humour.
Co-choreographer, Almost Famous Theatre Company
I went on to produce, direct and choreograph a musical independently, with Leah as my assistant. Toward the end of the process, with a few routines still to choreograph and teach, I broke my foot. Leah and I decided to roll with the punches (I’m sure there must be a dance-based pun here), and I described to her the half-baked ideas floating around my head. Like a total pro, Leah interpreted this to create some beautiful, engaging routines and also helped me to devise and teach a tap routine – a discipline in which she had no prior experience. As they say, sometimes the best artistry comes from adversity, and I’m really proud of what we managed to put together as a team, with only three operational legs between us!
I went on to produce, direct and choreograph a musical independently, with Leah as my assistant. Toward the end of the process, with a few routines still to choreograph and teach, I broke my foot. Leah and I decided to roll with the punches (I’m sure there must be a dance-based pun here), and I described to her the half-baked ideas floating around my head. Like a total pro, Leah interpreted this to create some beautiful, engaging routines and also helped me to devise and teach a tap routine – a discipline in which she had no prior experience. As they say, sometimes the best artistry comes from adversity, and I’m really proud of what we managed to put together as a team, with only three operational legs between us!
Co-choreographer, Almost Famous Theatre Company
Area Manager, Steve Backshall’s Live ‘n’ Deadly Tour, BBC Learning
I had the privilege of spending some of the earliest days of my career at the legendary Pinewood and Teddington Studios, and working on live events for BBC Learning. These days, when I walk into a studio, the smell hits me and I’m reminded me of those early days, when I discovered that the buzz I had always felt being in a theatre translated to being in studio, and to helping to run TV/theatre/music-related events too.
I now conclude that I don’t really have “the bug” for any one artform; as trite as it sounds, I have the bug for collaborating with other creative individuals to make authentic, compelling material, in whatever form that takes. I hope and aim to remain at the forefront of pushing boundaries, driving new, playful, creative explorations, and ultimately, creating content that people can get something out of – and, hopefully, enjoy!
Area Manager, Steve Backshall’s Live ‘n’ Deadly Tour, BBC Learning
I had the privilege of spending some of the earliest days of my career at the legendary Pinewood and Teddington Studios, and working on live events for BBC Learning. These days, when I walk into a studio, I’m reminded me of that time, when I discovered that the buzz I had always felt being in a theatre translated to being in studio, and to helping to run TV/theatre/music-related events too.
I now conclude that I don’t really have “the bug” for any one art-form; I just love collaborating with other creative individuals to make authentic, compelling material, in whatever form that takes. I hope and aim to remain at the forefront of pushing boundaries, driving new, playful, creative explorations, and ultimately, creating content that people can get something out of – and, hopefully, enjoy!
