Reflecting on 10 Years as Artistic Director at Little Angel Theatre

Ten years ago, when I stepped into the role of Artistic Director, Producer, and CEO at Little Angel Theatre, I knew I was joining a company with a remarkable legacy. What I didn’t yet know was just how deeply that legacy, and the people who carry it forward, would shape me. Over the last decade, this journey has been one of transformation: of spaces, of people, of possibilities, and also of myself.

Little Angel Theatre was already much loved when I arrived, but it was clear that its potential hadn’t yet been fully unlocked. What began as a solo leadership role has grown into a shared endeavour: today, I have the privilege of co-leading the organisation with the brilliant Peta Swindall, Executive Director and Joint CEO. Together, we’ve navigated growth, uncertainty, ambition, unexpected obstacles, and joy – sometimes all in the same week!

Looking back, I see not just the milestones we’ve reached, but the countless moments of decision, learning, and resilience that made them possible. One of the earliest endeavours was restoring and opening Little Angel Studios – transforming a neglected community centre into a hub for creativity, learning, and play. That investment wasn’t just in bricks and mortar, but in belief: in our artists, our team, and the children that we serve.  It is so heartening to see it overflowing with activity ten years on.

Over time, our output grew – and so did our impact. Under our joint leadership, LAT’s turnover has tripled, and our team has expanded from 10 to 27. But numbers only tell part of the story. What really matters is the heartbeat of our mission: using the magic of puppetry to spark imagination and make the arts accessible for every child, regardless of their background. That mission continues to guide every decision, from programming to pricing, from partnerships to participation.

Establishing our Schools Partnership Programme and Community Programme has been one of the most profound shifts in our practice. These initiatives moved us from sporadic outreach to deeply embedded, long-term relationships. They reflect our belief that puppetry isn’t just entertainment – it’s a fantastic educational tool that helps children find their voice, understand their world, and connect with each other. Islington is a complex borough, where poverty, language barriers, and social inequality are stark – and it is humbling to see that these programmes have sharpened our purpose and become a cornerstone of our work.  Additionally, through our Suitcase Theatre strand, we’ve taken small-scale shows into hospitals, prisons and refugee centres, demonstrating how puppetry travels: across physical spaces, emotional thresholds, and cultural barriers. The stories we’ve shared in those settings – often with people who cannot come to us – have reminded me again and again why this work matters.

Scaling up our ambitions nationally has brought fresh learning. Our Reading Through Play programme, developed with the National Literacy Trust and Dr Kate Smith, was a leap into the unknown. But it proved what we’ve long felt: puppetry is not marginal, but central. It can unlock a love of reading, particularly in children who face barriers or don’t see themselves reflected in traditional methods.  Our next challenge is to continue to reach children across the country with exciting, relevant projects that centre puppetry and play.

The pandemic was a reckoning. It stopped us in our tracks, just as we were about to embark on a major capital redevelopment project across both of our sites. We immediately turned to digital innovation, something that we had already started to investigate, creating digital shorts for our YouTube Channel and delivering zoom workshops and performances, completely reimagining how we connect. It was exhausting, but also galvanising. The OneOff Award we received in 2021 recognised our response, but the real reward was knowing we didn’t disappear – we adapted.

Not every venture has been easy. Our shows for older children, for example, often struggle to draw the same audience numbers as our early years’ work. And as we all know too well, the cost-of-living crisis has made cultural participation harder for many families and schools. It’s sobering to realise how easily the arts can slip into being perceived as a luxury when, in truth, they are a necessity.  And despite the public perception of LAT as a thriving organisation, we are not part of Arts Council England’s National Portfolio and receive no regular public funding. This continues to surprise people – but for us, it’s a reality we’ve learned to meet with creativity and determination. Don’t get me wrong, we have benefited hugely through ACE’s project grants and other strategic funding, but we have never had the stability that core funding provides. Our Commercial Development Team, which began as a one-person experiment in 2018, has consequently become an essential engine for our sustainability, allowing us to reimagine how we generate income without compromising our values.

One of the most joyful developments has been the growth of our mid- and large-scale touring. Productions like Charlie Cook’s Favourite Book, and currently A Squash and a Squeeze, have reached tens of thousands across the UK, culminating in West End runs – milestones we once only dreamed of. Behind the scenes, our production team, headed by the brilliant Senior Producer, Miranda Pitcher, one of our longest standing members of staff, has worked miracles balancing our busy in-house and touring schedules, with ingenuity and grit.  And then there’s the Little Angel Children’s Puppetry Festival, now a fixture in our calendar and a celebration of everything puppetry can be. Curated by our super talented Artistic Associate, Oliver Hymans, it showcases work from across the globe and across forms. It’s a joyful expression of our ethos: artistic excellence, accessibility, and imagination for all.

Our commitment to training and sector development has been another source of pride and reflection. From supporting global majority artists through internships and partnerships, to running professional pathways on MA courses with RCSSD and Guildhall, we’re working to shape a more inclusive, skilled, and confident puppetry sector. Watching alumni go on to work in the industry, one group even forming their own company, has been one of the great privileges of this role.

LAT has also tried to lead in other ways. We were the first building-based theatre to trial a four-day working week – an experiment in rebalancing wellbeing and output, alongside sustainability goals.  And the accolades – The Stage 100 in 2024 and 2025, Fringe Theatre of the Year 2025, and an Olivier nomination – have been incredible moments of celebration. But they’re not the reason we do what we do. They are, at best, echoes of something more lasting: the trust of our participants and audiences, the spark in a child’s eye, and the quiet moment of connection when a puppet comes alive.

There have been times, I admit, when this work has felt relentless. The treadmill metaphor feels apt, especially when funding is scarce and the need is great. But these moments are always eclipsed by the meaning, the mission, and the magic. As I reflect on this decade, I’m overwhelmed with gratitude: to the children, the artists, the educators, the partners, and above all the staff team who’ve made this journey unforgettable. I’ve learned that leadership is not about having all the answers, but about listening deeply, holding space, and trusting the collective vision.

Puppetry has taught me that even the smallest gestures can hold enormous power. And Little Angel Theatre has taught me that with courage, collaboration, and creativity, anything is possible. Here’s to the next chapter, whatever path it might take.