2025
5 years ago I started to write about my father’s Viennese youth, initially to mark his 35th yahrzeit - during COVID. I wanted to also look at the city and its legacy; in particular the period 1919-1934 - Red Vienna, when my Dad was 3-18. In 2021 I obtained dual Austrian/UK citizenship, so the writing also speaks to that hybridity.
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Two small Fence network meetings took place in 2025. Sofia in October focused on theatre and science as part of the Theatre of Wonder Festival; Bradford in November looked at opera, AI and disability.
In March we made 2 Fence-led EU Erasmus+ bids under the Vocational Educational Training (VET) strands. One focusing on dramaturgs, the other on playwrights. Both were unsuccessful, .
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Two Projects directly involving The Fence (also funded via EU Creative Europe):
Drama of Small European Languages (DoSEL) 2024-6 on which The Fence is an Associate Partner, is dedicated to the cultural and linguistic diversity in the European cultural space, and in particular to improving conditions for international collaboration, translation and the staging of European drama written in smaller European languages. The DoSEL project is a continuation of the work that began in 2021 in the frame of the development grant from the European Theatre Convention (ETC) that was awarded to the consortium of Prešeren Theatre Kranj (Slovenia), the National Agency for the Performing Arts (Malta) and the Slovak National Theatre (Slovakia). With the successful application for the Creative Europe tender in 2024, the consortium of the DoSEL project expanded, including Arriaga Theatre (Spain), Sala Beckett (Spain), HNK Zagreb (Croatia), Estonian Theatre Agency (Estonia), National Theatre Kosovo (Kosovo) and Ivan Vazov Theatre (Bulgaria), with the intention of permanent change of the structural condition in the European theatre sector and an increase in the accessibility of drama of smaller European languages to a wider range of European and world audiences.
2024-6 is a collaboration between 5 theatre organisations from 4 countries, employing innovative approaches of collective creation to develop a new play in response to the founding myth of Europe itself. This will directly address the development and promotion of European cultural and linguistic diversity and heritage, questioning narratives that regard these as exclusive, and demonstrating the centrality to Europe of migrant communities and cultural minorities. Three, 9-day devising workshops, one each led by Border Crossings, Teatro Dell’Argine and Theatre du Soleil, will involve the core devising team from each partner organisation. Dramaturgical methodologies developed by The Fence will help bring together the materials generated, culminating in a showcase of the work, at Riksteatern in Stockholm. Riksteatern will also develop a green future touring model for the prototype co-production: attracting invited presenters, theatres and festivals.
Arts and Disability scoping: Romania
Commissioned by the British Council, this maps the current state of disability arts in Romania – identifying existing practices, challenges and opportunities for growth. The research is led by myself and Fence network colleague - disabled playwright, director Olga Macrinici, in close collaboration with local experts Ruxandra Mateescu (Asociația Supereroi printre noi) and Iris Popescu (AMAIS – Asociația Metodelor Alternative de Integrare Socială). Together, they have brought a wealth of knowledge and lived experience to this process.
Alongside focus groups, we met with several key stakeholders from both the public and private sectors in Bucharest and Timișoara. These meetings enriched our understanding of the current landscape and allowed us to gather diverse perspectives and valuable information. We analysed the extensive data collected during these sessions and produced a report calling for a National Arts and Disability framework. The insights gathered will inform strategic recommendations to shape future policy, investment and programming, with the goal of strengthening inclusion and accessibility in Romania’s cultural sector.
Key study highlights were presented at the Local Government Forum 2025 – Modern and Accessible Cities (13–14 October 2025), hosted by the British Embassy Bucharest
The full report will be launched in February 2026 in Timisoara and Bucharest.
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I have continued working as consultant with Robert Silman on The Bard of Pittsburgh Ltd
Vision At the core of the Bard of Pittsburgh African Legacy Theatre (BOP) is the genius of August Wilson, one of the great playwrights of history and deserving of an association that recognises his contribution to global culture.
Mission BOP Champions the genius of all great black playwrights of yesteryear, now and tomorrow. Much like the Royal Shakespeare Company (RSC) exists to promulgate the works and the genius of William Shakespeare, the Bard of Avon - via production of his plays and those of his contemporaries - BOP’s mission is to transform August Wilson into a household name, via the production of his plays, as well as those of his contemporaries
I look forward to continuing this work in 2026 with Robert, and also Indira Etwaroo, CEO at Harlem Stage / BOP Inc.
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I am also working to support Robert Silman’s Keep Publishing Independent and Extraordinary Books
Keep Publishing Independent (KPI’)s mission is to keep publishing independent by aiding independent publishers with financial and/or other assistance on:
· Specific publications;
· Infrastructure support;
· Almost anything that helps keep them realising their passion.
KPI’s mission is also to support its own not for profit publishing subsidiary, Extraordinary Books (EB), to explore ways of publishing that challenge the norms, especially by enabling anyone to submit anything directly to EB, without need of an agent/gatekeeper.
Other features of EB include:
· A 50/50 profit share to signal a partnership rather than a supplier/client contract between publisher and author
· All books are treated equally when allocating funds for marketing and PR to signal no favouritism
· An editorial collective which is open for all readers will be used as the assessors for submissions
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I have also been working as consultant with Gabriel Gbadamosi, Founding Editor of WritersMosaic, to examine the model he created, in all its modalities, and to help create a legacy of his work with the Royal Literary Fund
WritersMosaic, a division of the Royal Literary Fund, is an online magazine and developmental resource focused on UK writers of the global majority, reflecting the changing reality of contemporary Britain, from its past and into its future. The platform showcases writer profiles through authored talks, creative exchanges and interviews, using images and illustrations, commissioned by an editorial team of writers who bring their own blend of curiosity, excitement and deep cultural and critical engagement. The informal, multi-voiced, writer-to-writer recordings are complemented by themed Guest editions from leading publishers, writers, editors, thinkers and artists who reflect on their own thematic interests and insights across genres of literature and introduce us to new developments. With new author profiles published regularly online alongside themed Guest editions, WM aims to give audiences a unique and in-depth insight into the lives and writing practices of contemporary writers who reflect the UK’s widening literary culture.
Goldsmiths: MA in Arts Administration and Cultural Policy
Under Convenor Aleksander Brkic, I continue to teach on this programme, alongside Cecilia Dinardi, Tricia Jenkins, Karla Barnacle-Best & Nuria Cortes-Romero. Founded under Geoff Crossick and by Gerald Lidstone, who led the programme until last year, this year marked 30 years of the MAAACP. Here is what arts consultant Tim Jones had to say about it:
“𝗧𝗵𝗶𝗿𝘁𝘆 𝘆𝗲𝗮𝗿𝘀 𝗼𝗳 𝗺𝗮𝗸𝗶𝗻𝗴 𝗰𝘂𝗹𝘁𝘂𝗿𝗲 𝘄𝗼𝗿𝗸.
Wednesday’s celebration for Goldsmiths’ MA in Arts Administration & Cultural Policy was a reminder of why this course still sets the pace: 𝗮𝗰𝗮𝗱𝗲𝗺𝗶𝗰 𝗿𝗶𝗴𝗼𝘂𝗿 + 𝗿𝗲𝗮𝗹-𝘄𝗼𝗿𝗹𝗱 𝗽𝗿𝗮𝗰𝘁𝗶𝗰𝗲 + 𝗴𝗹𝗼𝗯𝗮𝗹 𝗿𝗲𝗮𝗰𝗵.
𝗪𝗵𝗮𝘁 𝗺𝗮𝗸𝗲𝘀 𝗶𝘁 𝘀𝗽𝗲𝗰𝗶𝗮𝗹?
• A culture of 𝗶𝗻𝗱𝘂𝘀𝘁𝗿𝘆 𝗲𝗻𝗴𝗮𝗴𝗲𝗺𝗲𝗻𝘁 - real briefs, placements and commissioning mindsets that turn theory into careers.
• An 𝗶𝗻𝘁𝗲𝗿𝗻𝗮𝘁𝗶𝗼𝗻𝗮𝗹 𝗻𝗲𝘁𝘄𝗼𝗿𝗸 that stretches across sectors and continents - alumni hiring alumni and genuinely worldwide collaborations.
• Staff who blend 𝗽𝗼𝗹𝗶𝗰𝘆, 𝗲𝗻𝘁𝗿𝗲𝗽𝗿𝗲𝗻𝗲𝘂𝗿𝘀𝗵𝗶𝗽 𝗮𝗻𝗱 𝗽𝗿𝗮𝗰𝘁𝗶𝗰𝗲 - from museums to diplomacy - teaching with humility and high standards.
• A programme that keeps evolving - rooted in legacy, open to new voices, and now sitting within the School of Creative Management.
I’ve had the privilege of guest-lecturing here for years. Every cohort arrives curious and leaves able to 𝗯𝘂𝗶𝗹𝗱, 𝗹𝗲𝗮𝗱 𝗮𝗻𝗱 𝗽𝗮𝗿𝘁𝗻𝗲𝗿 - the kind of people who turn cultural ideas into civic value.
I've had the pleasure of hosting work placements from this MA for longer than I remember - and seeing those students flourish in their professional lives, and for organisations I've worked in to continue to welcome placements after I've moved on.”