‘Wunderkammer’: wonder-rooms, cabinets of curiosity…I like to make productions that take people into a ‘world between worlds’ (my favourite review) where pieces of the everyday and the ordinary are captured and reassembled. I also produce extraordinary projects for other people….

I’m excited by work that brings different art forms, artists and cultures together.  Making opera and music theatre is one of the most thrilling, all-consuming journeys imaginable. I love to collaborate with artists of all disciplines and create unique frameworks for them to work within  – and with each other.

Protected: The Making of Hansel & Gretel; Touring Artwork

Hansel & Gretel (a nightmare in eight scenes) Goldfield Productions

The Sea Crossed Fisherman: opera by Michael Ellison with Hezarfen Ensemble (touring 2019)

The Ubiquitous Woman – Music Theatre by Martin Ward + Di Sherlock (touring 2019)

Pericles 2020 – Music Theatre by Paul Barker with CSSD (touring 2020)

HORSE by Peter Zinovieff & Katrina Porteous (touring 2019)

SWANSONG – by Iain Burnside (2017)

Kepler’s Trial by Tim Watts @V&A Museum OPERA PASSION (2017)

SIDDHARTHA – a new musical (2017-2018)

OPERA: Tokaido Road (2014-15)

I love the concept of a travelling show and all of these are designed for younger audiences and families. I’ve written and directed most of them myself and there is always a focus on story-telling carefully illustrated by some of the finest chamber music – we’ve used repertoire by Ravel, Beethoven, Stravinsky, John Adams, Haydn, Howells, Grainger and many more to tell our tales. Each show lasts around 50 minutes and they have been seen by over 7000 young people. 

Protected: Highbury Whispers – cast & crew section

Three Stories About Home (2018)

Three Stories About Birds (2017)

紙芝居 Kamishibai! (2015)

Music composed in the Shadow of War (2014)

HIGHBURY WHISPERS – site specific theatre for young people (2018)

The Music Box (2016)

The Paper Forest (2015)

I think of concerts rather like visits to a museum or an art gallery…I don’t believe that any music or genre is ‘unprogrammable’ and I’m intrigued by mixing up musical styles, visuals and technology. I’m keen to constantly challenge our concert conventions and to take music into new places and spaces.  

Bascule Chamber Concerts 2017 (Langham Research Centre & Kate Romano, clarinet)

Lost Britain – neglected repertoire from the early 20th Century

RITUAL IN TRANSFIGURED TIME

ANARCHY in the organism