I first met Richie O’Sullivan around 2010. Neither of us can remember exactly where it was, it could have been a Youth Theatre Festival in Co. Wexford or a Writing Workshop in Co. Tipperary. Either way, we got to know each other and our paths crossed a number of times during my time in Ireland.

Richie always seemed to be someone working. He was doing a show here, a tour there, writing a play, taking pictures. He was always busy. He has worked as a youth drama facilitator, a Stage Manager, a Producer, a Company Manager and presently is the Festival Administrator for Dublin Theatre Festival.

When I came back to Ireland I knew that I wanted to reconnect. This conversation was the first time that we had talked in a long time, and it was eye opening to learn more about Richie’s experiences in the intervening years. On the outside it looked like he had it all, from his perspective, he was struggling with the issues that long and unpredictable working hours were causing. He openly talks about how he has engaged with his career to regain some control and protect his mental health.

I always considered Richie to be a very creative person, but he feels that it is only in the last few years that he has started to feel comfortable talking about himself as creative.

I don’t think I will ever forget the first time I met Alexandra Silber, or Al as I came to know her. It was 2004 and I had just started at the Royal Scottish Academy of Music and Drama (now the Royal Conservatoire of Scotland). I was alone in the female bathroom and I was crying (shock-horror/again). I tried to cover it up when Al walked in. She gently asked if I was ok, and proceeded to help me put the world to rights. Her kindness left a marked impression on me.

Al was in her final year, and over the year I watched the dedication she gave to developing her craft. She was more likely to be found in a rehearsal room than in the bar. I was intrigued by her level of commitment, but didn’t fully comprehend how necessary this work ethic was for a professional career in performance.

Her first job out of drama school was the title role in Andrew Lloyd Webber’s new (at the time) musical The Woman In White. I traveled to London to watch her perform, and everything about the role, the scale of the production, the quality of her performance just confirmed to me that Al was a star. She worked hard, and her reward was amazing opportunity. She hadn’t won anything, or been handed anything, she worked for it.

Since that performance, Alexandra has performed major roles in musicals and stage plays in both the West End and Broadway. She has performed on numerous recorded albums, and live in concert at some of the most prestigious venues. Alongside her stage career, Al is a published author of two novels and has adapted a number of plays.

I have stayed in touch with Al through following her on social media and the very sporadic message or two, but we have not had a conversation since 2005. This chat was a beautiful re-connection, Al has not changed, she continues to radiate kindness and love. She shares her experiences generously and with practical tips on how she grows and learns as a performer and develops her creative life.

I remember the first stage rehearsal that I watched Johnny Kim running, and thought who is this guy???. His in-depth knowledge of each persons role and choreography was matched by his beautiful articulation over the microphone. If one of the 90 performers needed to know which direction their little finger should be pointing in one exact moment - Johnny was the person to tell them! He was incredible to watch, and I watched and learned from him for two years at House of Dancing Water in Macau.

Although we remained friends when he left Macau, our professional paths crossed once again when we both found ourselves working as Artistic Directors with Cirque Du Soleil. Johnny had been working for Cirque for two years before I joined, and I was so happy when I was placed with him for my induction period to the company. We spent a glorious couple of months in London, and again I got to learn by watching him do his thing.

Johnny’s work ethic is inspirational, and hearing about his journey into performance and entertainment, it is easy to see that he developed his discipline of hard work through pushing to make a life that he wanted to live, rather than a life that was expected of him.

I met Iratxe in 2016 when I invited her and her partner Igor to host a movement workshop for the cast of The House of Dancing Water in Macau. I had watched a few of their videos online and could see what incredible dancers they were. The workshop was based around a methodology they were developing at the time called Metamorphosis, and which has gone on to become the basis of their company Metamorphosis Dance. When we had discussed the workshop I explained that not all of the performers were dancers, and Iratxe described how the workshop was for everyone, and encouraged me to participate.

I could not walk for 2 days after the workshop. I have always considered myself reasonably fit (not acrobat or dancer fit - but normal fit), but this workshop forced me so far out of my comfort zone I didn’t think I would ever find it again. Iratxe and Igor work with an intensity that is unforgiving...you commit to the movement or you leave.

Their work has taken them all over the world, and they have received invitations to collaborate with many artists outside the dance world. Each project becomes an intense investigation and the resulting performances are always captivating.

Iratxe and I have been trying to find time to talk for the past two months, but despite covid her schedule has been packed with new projects and most recently she was honored with the National Dance Prize in Spain so she has been booked for appearances like a Queen. We managed to find an hour during an intensive creation.

As time was tight, we didn’t get to cover everything, but this is a great introduction to Iratxe, and the way she approaches work.

I have known about Daniele and his company Compagnia Finzi Pasca since I became interested in large scale circus. The beauty, poetry and intimacy that he brings to his work is breathtaking.

His company, based in Switzerland, has produced more than 35 shows around the world, and their scope of work ranges from a performance for a single spectator to Olympic ceremonies.

When I first met Daniele in 2019 I was blown away by his generosity. He helped me to understand his show Corteo (on which I was working as the Artistic Director) and worked with me to make necessary changes. Since the show was temporarily closed in March 2020, we have stayed in touch, and I was blown away when he agreed to chat with me on the podcast.

His experiences and working practices are a masterclass for anyone working in live performance. I really hope that this conversation inspires you as much as it has for me.

The first time I was invited into an artist's studio was in 2007 in Johannesburg, South Africa. It was magical, and I felt that I was seeing the inside of someone's mind. There were sketches covering the walls, tables covered in paints and easels with huge partially finished pieces of work. This studio belonged to Rory Prinsloo, a South African visual artist.

Rory's work captures your imagination, and provokes deeper thoughts. Despite knowing Rory for almost 14 years, we have never sat and discussed his work specifically, so I was very excited to have this conversation.

Disclaimer: this podcast was recorded over the internet and Rory was in his studio, a very busy space, so there is some background noise. Although we have never spoken about Rory’s work, this is actually a second attempt at this conversation, the first recording did not work, and we reference ‘last week’ a few times.

I first met Nichola in 2011 when she was part of a development workshop I ran for a play I was writing. She had recently moved back to Ireland after 10 years in London where she had a successful career as an actress. Returning home had meant starting again, and developing her career all over again.

Since 2011, I have kept an eye on Nichola’s career, from afar, and through her perseverance she has created another successful acting career here in Ireland.

She is hardworking, positive and a joy to work with and talk to.

She is also a skilled craft person,and knits handmade Shrawls...make sure you check them out, they make beautiful gifts.

I hope you enjoy this chat.

Meet the powerhouse that is Sophie Duncan.

The self proclaimed ‘Hustler’ is a highly skilled Dancer, Pole Artist, Choreographer, Director, Writer, Podcaster and Teacher.

I first met Sophie in 2015 when she was a dancer on the show The House of Dancing Water. She is constantly pushing to learn more, try more and do more. Every time her content pops up on my social media feed, it is to announce a new development, a new skill or a new project.

She is an inspiration in trying new things, saying yes to all opportunities and doing whatever you can to keep making.

Sophie talks fast, laughs loud and doesn’t apologise.

This conversation touched on lots of different areas of Sophie’s work and her stories and experiences really give insight to what it is like to work as a multi-disciplined artist and creative.

Geert Chatrou is a Dutch musician with a highly unusual instrument.

I met Geert in early 2019, and his life stories have fascinated me. Not only because of the experiences he has had, but because of the humility he has when telling them.

A father of two (now) grown up children, Geert has had to balance his life as provider and artist. The accidental discover of, and subsequent success with his instrument is inspirational.

I really hope you enjoy listening to Geert's stories.

Welcome to the world of the three time world champion Whistler.