Meet the Team

Theatre and storytelling have always been an integral part of my life, having worked in the industry from the age of 15. I believe in the arts’ power to inspire and move people. Theatre can bring all people together to experience something unique and even life-changing. And, at Fuel, I get to collaborate with other producers and artists in creating vital pieces of work that reflect, illustrate, and reimagine our society.

I am originally from Porto, Portugal and, in 2013, I moved to London to experience the city’s ground-breaking arts scene. In 2018, I finished my BA (Hons) in Drama and Film Studies from Queen Mary’s (QMUL). It was during my time at QMUL that I joined the arts organisation Phakama - as a Young Creative and Youth Board Member, and where I developed a passion for producing. In the Summer of 2019, I worked at the Open Air Theatre as an Administration Intern and, in Autumn, I started an MA in Creative Producing at Royal Central School of Speech and Drama, which then lead me to Fuel at the beginning of 2020.

You can contact me at belisa@fueltheatre.com

Previously, I was a box office and sales assistant at Southwark Playhouse. Prior to that, I worked in LGBT rights as Campaigns Officer Stonewall.
I completed an MA in Arts and Cultural Management at King’s College in 2020.
Working at Fuel merges my love of theatre commitment to social justice.

You can contact me at angela@fueltheatre.com

I believe the arts to be the most formidable tool for human connection. I work in the arts because I love being part of enabling artists to entertain us, shock us, delight us, comfort us, inform us, and, most importantly, help us make sense of the world.

I am from Palermo, Italy. I came to London in 2016 to undertake a MA in Arts Administration and Cultural Policy at Goldsmiths, University of London, and pursue a career in the Theatre sector. Before moving to the UK I studied International Relations and Public Policy at the University of Florence and worked in PR for the European University Institute.

Before joining Fuel as Fundraising Manager, I was the Development Officer at Theatre Peckham for two years, where I have worked to build up their Trust and Foundations portfolio to support the delivery of meaningful engagement work across South London. Previously I have supported the fundraising team at LIFT, and have worked in PR and Communications for the Sony World Photography Awards and The Corner Shop PR.

You can contact me irene@fueltheatre.com

I work in the arts because I believe it gives opportunity for an artist to reflect and express where we fit into our society as individuals; whilst building a community bigger than ourselves. I have always been drawn into working with artists from a range of socioeconomic backgrounds, on projects that can create opportunities for different cultures to be brought together, through the medium of theatre and live/digital events.

In 2017, I graduated with my BA in Acting at Bath Spa, and in September 2020, I graduated from Mountview Academy studying an MA in Creative Producing. In between this, I have supported underrepresented artists in our industry to regain the confidence to be heard. Before working freelance with Fuel, I collaborated with companies such as Leading Light Collective, Lagahoo Productions, and Arch468 specialising in community engagement and new writing.

You can contact me at belinda@fueltheatre.com

There’s an art form out there for everybody. Some find it when they’re small, some not until much later in their lives. And when they do, that encounter is often compelling, it lights something inside. It might be a love of being part of an audience, of being part of a live exchange. Or the discovery that they are makers, storytellers, performers. That freedom of creative expression can change the world around us, as we find space to be critical, hopeful, empathetic. Or it can simply bring joy.

I came to Fuel having worked at the Young Vic for eight years as Head of Learning. I produced theatre with young people, supported emerging artists, and ensured thousands of young people could experience work at their local theatre. I specialised in making work with and for children with neurodiversity and physical disabilities, creating new models of working by adapting rehearsal processes and performance environments. I have a BA in Drama, Applied Theatre and Education from Central School of Speech and Drama, and have worked for years as a drama facilitator in a range of organisations. I also spent a couple of years at a children’s mental health charity working in peer-mentoring and safeguarding.

I’ve always been driven by facilitating opportunities for people to experience creative work, often for the first time, and the more this happens the richer our industry becomes. It ensures we keep looking outside of ourselves, and in turn, allows us to better explore ourselves inside.

You can contact me at georgia@fueltheatre.com

I have worked as a cross-arts producer and programmer for 8 years supporting artists to create work and push their practice across a number of schemes that I have delivered in different organisations. As a trained classical singer who has worked in organisations such as the Royal Opera House, Barbican Centre and The Lowry in Salford, my career to date has primarily been about making the sector as accessible to as many unheard voices as possible.

I previously worked as the Senior Producer (maternity cover) within the Programming department of The Lowry. I lead on the strategic approach to artist development and delivered The Lowry’s programme of in-house schemes. These programmes helped to identify artists and companies that fit with the artistic vision of The Lowry and enabled me to commission them to create new work. This post was focused on the delivery of an ambitious and nationally visible model of artist development that sits within the heart of The Lowry’s creative and artistic ambition. Prior to this role, I worked as a Producer at the Barbican Centre for their Creative Learning department where my main responsibilities were the strategic overview, management and delivery of two main programmes; Creative Careers and Development of Emerging and Practising Artists.

You can contact me at anthony@fueltheatre.com

I’ve been at Fuel for quite a while. The past is a foreign country. I can’t explain or justify any of it. I can only apologise. Does that sound a little jaded? Well, I’m still facing a lot of the same challenges as I was 11 years ago. The odds remain stacked pretty much as they were back then, and I’m showing no sign of winning. Yet despite being pretty average at production management I remain somehow messianic when it comes to enlisting newcomers and retaining old hands to the cause. All of whom are much cleverer and kinder. You need a mess of help to stand alone.

You can contact me at stuart@fueltheatre.com

Working in the arts is something I always thought I would do. Having artistic parents I always felt comfortable in this world and I find it extremely rewarding to now be a part of the great team at Fuel.

After finishing school in Harrogate, I moved to Prague and worked for an events company for 3 years before returning to London to pursue my career in Theatre. I graduated from the production course at Mountview Academy of Theatre Arts and then went on to work as a freelance stage manager on a big scale production that toured the world. In addition, I have also worked on events and shows in London and across the UK.

You can contact me at greg@fueltheatre.com

I started making theatre because I needed to combine my artistic practice with my hopes for achieving something better as a society.

I grew up in Finland, graduated with a BA in English from the University of Cambridge in 2019, and started 2020 with joining Fuel.

Fuel’s productions develop models for action and presence, across disciplines. I’m excited to collaborate on finding ways for how the empathy, voice, ideas that Fuel helps artists with can be produced into the world beyond the stage.

I’m particularly interested in how movement work and absurd and lyric structures in theatre are placed to respond to social issues. Before joining Fuel, I was the Assistant Director of the Cambridge Greek Play 2019.

You can contact me at julia@fueltheatre.com

I work in the arts because the arts raise everyone’s quality of life and the people who work in the arts tend to be passionate about what they do and very nice. This particularly applies to Fuel.

I have worked in the not for profit sector for over 25 years including 16 years in the arts, leading the finances (and occasionally other bits) of Battersea Arts Centre, The Albany Deptford, Rich Mix, and LIFT. I currently sit on the Boards of Camden People’s Theatre and performance company Uninvited Guests.

You can contact me at david@fueltheatre.com

I work in the arts because I believe brilliant artists give us a new way of looking at the world around us and everyone in it. The best moments in my job are when I see people in the audience connecting with the shows we make – couples watching 'Love Letters Straight From Your Heart' and falling in love all over again; toddlers speechless with wonder watching conkers fall from the sky in 'The Forest'; passers-by being drawn towards 'Electric Hotel' and becoming engrossed. I am incredibly lucky to work with artists who constantly surprise and amaze me, and I’m passionate about reaching as wide an audience as we possibly can.

I studied English and French at Oxford University and went on to work as a journalist for the Scotsman in Edinburgh. After that, I took the plunge into producing and started working freelance, making shows in pubs and warehouses. I got a job as a trainee producer at Battersea Arts Centre in 2002 where I learnt a huge amount about making theatre and met brilliant artists, many of whom I still work with. And I met Louise there and in 2004 we decided to set up Fuel. I have loved (almost) every moment since and can’t wait for what’s next around the corner...

You can contact me at kate@fueltheatre.com

My love of theatre began at the age of 9 on a West End stage. I fell into it by chance and fell in love with it almost instantly. Performing was great but it was the process of how a production is created that fascinated me. Being a millennial, social media has played a bit part of my life and I combined this with my love of theatre and eventually began a career I am passionate about.

I get to work on a variety of projects with different processes performed to different audiences all over the country. It’s a great feeling knowing that you've contributed to creating something so unique for people to enjoy.

Prior to Fuel, I was employed by The Stage newspaper. I worked solely on a project called Get Into Theatre which was designed to help the next generation of theatremakers pursue a career in the theatre industry no matter their ethnicity, ability, or background.

You can contact me at gemma@fueltheatre.com

Working in the technical side of theatre is something I’ve always done. I studied technical theatre in Oldham before starting as an Assistant Electrician at The Thorndike Theatre, Leatherhead. I worked mainly in lighting departments at Leeds Playhouse and Crucible Theatre, Sheffield working up to a Chief Electrician position. I moved back to the right side of the Pennines to become Head of Lighting at The Royal Exchange Theatre. 14 years later I left to start as a freelance Lighting Designer and Production Manager, working with MIF, HOMEMcr, Leeds Playhouse, The Place, Shobana Jeyasingh Dance, and Box of Tricks Theatre Company.
It’s fantastic working with Fuel, the team, the artists and creatives, and developing work for audiences.

You can contact me at richard@fueltheatre.com

I work in the arts because I am passionate about enabling unheard voices to be heard. I believe the arts enable us to rehearse new ways of living in this world and feel that now more than ever we need to explore different possible ways forward.

I am from Lisbon, Portugal. I came to London in 2003 to study Media Arts with Film and Video Production and then undertook a postgraduate degree in Arts Criticism and Management at City University.

I have worked in the arts for over 15 years. Before joining Fuel in Sept 2018 I have worked with organisations like Percursos (a multidisciplinary arts festival held in Portugal), TAPP (the Teacher Artist Partnership Programme), LIFT, Phakama UK and Greenwich & Lewisham Young People's Theatre. I have also worked freelance as an arts consultant, curator and producer with companies such as Nour Festival, Clayground Collective and Freddie Opoku-Addaie.

I have also travelled to China as part of the China-UK 400 Cultural Leaders programme led by the British Council. In 2010 I joined City University’s mentoring scheme to help current graduates find their way into the arts and creative industries. From 2014 - 2017 I sat on the board of CASA Latin American Theatre Festival.

You can contact me at ines@fueltheatre.com

I work in the arts because life is too short to do something you don’t care about. I care about it because it brings people together and makes people think. I work at Fuel because I love the program and the team.

Theatre started for me when I volunteered at the Edinburgh festival in 2011. I was the runner for a general manager at one of the big venues and I’ve never looked back. Since then I’ve done various stints in theatres all over with an emphasis on operations and finance, including the Soho Theatre, the Arts Theatre, The Pleasance, and now Fuel.

You can contact me at anna@fueltheatre.com

I work in the arts because I believe live performance and creative experiences can make the world a better, kinder, and more interesting place to be. I work at Fuel because I believe in the art, artists, and future which we want to create and support. In particular, I am inspired by Fuel’s ambition to engage audiences nationally and internationally whilst being at the cutting edge of producing practice as a producer-led and founded organisation.

Prior to joining Fuel, I worked as Producer for Farnham Maltings, delivering work nationally for Little Bulb Theatre, Victoria Melody, Up In Arms, and Jess and Joe Forever in co-production with the Orange Tree Theatre. Alongside Farnham Maltings I worked independently with artists such as Jammy Voo, and as Company Producer for Home Live Art. I’ve previously worked with organisations including The Old Vic, Camden People’s Theatre, Blind Summit, touring initiative House, and in 2015 I created the digital touring resource tour-finder.org. Outside Fuel, I am a regular visiting lecturer at the Royal Central School of Speech and Drama, and a proud Trustee of New Diorama Theatre and physical theatre company Rhum and Clay.

You can contact me at sarah@fueltheatre.com

British lyric soprano Nadine Benjamin is a charismatic and versatile artist who is in increasing demand on both the operatic stage and the concert platform. She is also developing great renown as an exponent of song, in particular Verdi, Strauss, Berg and contemporary American song. From 2018 to 2020, Nadine was an English National Opera Harewood Artist and made her debut with the Company as Clara (Porgy and Bess), followed by Musetta (La bohème) and Laura (Luisa Miller). Nadine made her Royal Opera House debut in October 2020 as a soprano soloist in New Dark Age, with works by Anna Meredith, Missy Mazzoli and Anna Thorvaldsdottir, and directed by Katie Mitchell.
Nadine is a known for her work as a Creative Empowerment Thought Leader as a Mentor, Certified High-Performance Coach and Accredited NLP Mind Coach, and founded her opera and mentorship programme ‘Everybody Can!’ in 2015 to provide a platform to encourage and support others in recognising and achieving their own visions. She has both produced and sung principal roles in Otello, and Tosca for Everybody Can! Opera. An Ambassador for Music Masters, Nadine was “highly commended” at the 2016 Aviva ‘Women of the Future Awards’, attend the Women of the Year Lunch in 2019 and was invited to both Buckingham Palace and 10 Downing Street in recognition of her work as a mentor and singer.

Sean is a specialist arts and media lawyer with over 25 years of experience - working with theatre, dance and other arts companies, and in film and tv. His areas of expertise include copyright, charity law, financing, creative team agreements and contractual issues, advising organisations in both the subsidised and commercial sectors. Sean has served as a trustee of a number of arts organisations over the years.

Sean's website is now live and can be found at www.seaneganconsultants.com.

Lilli Geissendorfer is Director of Jerwood Arts (www.jerwoodarts.org), an independent grant-making foundation and charity dedicated to imaginative and responsible funding and development of artists and the arts. She has a background as a theatre producer with an interest in creating definitive new work with outstanding artists. Previous roles include Producer at Almeida Theatre under Rupert Goold, and Relationship Manager for Theatre at Arts Council England where she managed an NPO portfolio and developed national environmental sustainability policies. Lilli also co-produced the first HighTide Festival in 2007, ran the film and theatre producing company Strawberry Vale Productions 2006-2011, co-founded Londoners on Bikes, a pop-up cycle safety campaign for the London 2012 Mayoral election and volunteers for The Breastfeeding Network. She studied social and political sciences at Goldsmiths and Cambridge University.

Joe previously worked at the RSA as Director of the Creative Learning and Development team, focussing on policy research and practical innovations to the close the creativity gap in learning. He also helped grow the RSA’s presence and impact around the world as RSA Global Interim Director, through a range of exciting partnerships.

Joe taught in urban primary schools for five years, before moving into policy analysis and programme leadership – first for IPPR, then as Learning Director for Creative Partnerships. Joe has also worked as a consultant to the Department of Education’s Innovation Unit, the Prime Minister’s Strategy Unit, and London 2012. Joe has written and presented on many education issues, including on creativity, curriculum, teacher quality, and school admissions.

Akiya is a talented stage and screen actress. She has numerous film and television credits, including on BBC's Casualty and Little Britain. Akiya recently starred at Lady Macbeth in Kit Monkman's film adaptation of Macbeth.

PREVIOUS WORK
- Clare Barron's Dirty Crusty at The Yard Theatre
- The Dark at Ovalhouse
- Emma Rice's The Little Matchgirl and Twelfth Night for Shakespeare's Globe

Akiya is a regular collaborator with the National Theatre, RSC and Young Vic. Akiya was also in the original cast of Swallows and Amazons (West End and Tour), starred as Hermia in the smash-hit international touring production of A Midsummer Night's Dream, and as dual roles of Medea and Maddy in the all-female cast of Medea, all produced by Bristol Old Vic.

Akiya voices the role of Amma in the emmy-winning CBeebies series BING, Adaline in the award-winning Netflix series HILDA, Lil' Sue in THE RUBBISH WORLD OF DAVE SPUD, and she is currently voicing the role of Snork Maiden in the animated series of MOOMINVALLEY.

Sue Hoyle works independently as a consultant, adviser and researcher, specialising in performing arts, cultural leadership and interdisciplinary projects. She is a Cultural Fellow of King’s College London, a Trustee of the Royal Opera House Covent Garden, a member of the core group for the What Next? movement and Chair of the Funding Committee for the Wellcome Trust Engagement Fellowships.

Leadership roles have included Director of the Clore Leadership Programme, Programme Adviser to the Advanced Cultural Leadership Programme at Hong Kong University, Executive Director of The Place, Head of Arts for the British Council in France and Deputy chief executive of Arts Council England. As a non-executive, she has been on the Boards of the British Council, DV8 Physical Theatre, London Philharmonic Orchestra and Shobana Jeyasingh Dance.

Martin is the Artistic Director of Perth International Arts Festival. Previously, Martin was Head of Performance and Dance at Southbank Centre, where her achievements include creating the acclaimed disability arts festival Unlimited. Martin joined Sydney Opera House in 2000 and in 2006 was appointed Head of Theatre and Dance.

Dr. Magda Osman is the Associate Professor in Experimental Psychology at Queen Mary University of London. She is also Head of the Dynamic Learning and Decision-making Laboratory (www.magdaosman.co.uk), and a Fellow of the Turing Institute. The ethos of Dr. Osman's work has been to take a critical eye to well-accepted views and challenge the status quo.
She has authored over 100 publications and two books. Her publications span work on psychology, cognitive science, management, philosophy, and economics. She is currently in charge of ongoing scholarly projects on decision-making under uncertainty, dynamic social interactions, moral judgment, agency and control, unconscious choice behaviour, risk and uncertainty, and conceptualizing violence.

Sealey has been Graeae’s Artistic Director/ CEO since 1997. Her directing career began with Interplay Theatre, co-directing Sea Changes, then directing Stepping Stones and Mad Meg. Directing credits for Graeae include: This Is Not For You, Reasons to be Cheerful, The House of Bernarda Alba, The Threepenny Opera. International credits include Blood Wedding (Setagaya Public Theatre, Tokyo); Romeo and Juliet (Saitama Arts Theatre, Tokyo). Jenny co-directed the London 2012 Paralympic Opening Ceremony alongside Bradley Hemmings (GDIF). She also won the Liberty Human Rights Arts Award and was on the h.Club 100 list of the most influential people in the creative industries

Shail leads the Northern European hub of McKinsey’s Pharmaceuticals & Medical Products Practice. He also coleads the European Organization Practice and the firm’s cross-sector work on enterprise agility.

Since joining McKinsey, Shail has worked with organisations around the globe on driving innovation, productivity, and growth; supporting major postmerger integrations, carve outs, and asset transfers; leading important performance transformations and restructurings; launching numerous medical devices and pharmaceutical products; and bringing about commercial and product-development excellence.

Prior to joining McKinsey, Shail gained experience in research science, business development, and project finance.