HF: What has your career looked like so far?
EG: I initially went to drama school to train as a director, and then inevitably started off in the freelance world of assistant directing, getting involved in massive productions of West Side Story and The Sound of Music. I then worked at Unicorn Theatre as associate director, where I went into London schools and ran workshops and shows, mainly for primary aged children. I moved on to TAG Theatre Company in Glasgow, which is more for teenagers, and worked as artistic director; I then went on to hold the position of artistic director of Trestle Theatre Company for 15 years. At Trestle I focused on secondary aged children, building a local community while also reaching teachers across the country. I have even run mask and physical theatre workshops at the Music & Drama Education Expo. In 2019, I joined Mercury Musical Development as executive director, working with artists to make new musicals.
HF: Can you tell me about your new role at BYMT?
EG: I have now started as creative director at BYMT, which is a role that brings together my love of making new musicals and my work with young people. I wish to build on a legacy and ensure that BYMT keeps young people's voices at the heart of what it does. I think ‘youth voice’ is often very well catered for in rehearsal, but in an office context, how do we as a board and as staff ensure that young people are part of all the choices we are making, and how can we empower their voices to be part of all our decisions? That is important and is something I wish to focus on.
HF: Is there anything new you would like to implement at BYMT?
EG: We have been discussing incorporating digital worlds as part of our shows. At the moment, our shows exist as amazing things that happen over one or two days, and then they are gone. While our young people are developing their singing, acting, or dancing skills and are making shows, they could also be making virtual worlds in which they can continue to connect with each other, so we are going to experiment with that. All of us are a bit sick of screens now, so we don't want shows to be solely digital, but we want to use live performance and virtual platforms in a complementary way.
HF: What problems do you wish to tackle in the world of music and drama education?
EG: I was in a school this week where most of the Year 9s had never had a music lesson or a dance lesson. They do drama, but to get to that age and not have anything in a school context – particularly in terms of music – is really devastating. There is also the increasing issue of students being forced to pick one ‘creative’ GCSE; I have kids who are brilliant at music saying they can't do it for GCSE because they have chosen Food Preparation and Nutrition. I have so much respect for music and drama teachers; the fact that they just keep going despite it being so tough is inspiring. So many of these teachers end up being the mental health support in the school, and they may be the ones that the kids go to for help.
HF: What positive steps is BYMT making in the world of musical theatre education?
EG: We have a very successful ‘discover musical theatre day’ which we take into schools that might be unable to offer dance, drama, or music. The students can meet professionals and get an idea of what it is like to sing in an ensemble or to devise singing, different types of dance, and forms of expression. We can provide assisted places, so money should never be a barrier for schools or students. We are trying to provide pathways for students who are interested in music and drama and would otherwise miss out.
HF: What projects does BYMT offer?
EG: The summer holidays are full of upcoming courses from BYMT for those aged 11 to 21. We are running nine residential courses where young people will devise, create, compose, and choreograph their own musical in a week – which is mad and overambitious and wonderful! By day six, students have made a show with a professional team, and often the young people have found friends for life. When we go into schools, we recruit students, but young people can also sign up and come to auditions outside of school. These are happening all over the country, and we are looking for young people to fill the roles of musicians, actors, and backstage crew. The shows at the end of these projects are of an extremely high quality, but they also feature students who do not want to go into the arts as a career, but just love getting involved. At BYMT we build the confidence of each student and provide an expressive outlet to support their health and wellbeing.
