That sense of community engagement - the excitement of the interplay between professional artists and local people bringing their creativity to bear where they live and work - stayed with me as I moved to the regional office of the Arts Council, as it was then structured. Yorkshire Arts, Assistant Music Officer (1984 -87) The myriad cast was drawn from the people of York who immersed themselves in the medieval world of the plays for over a month of intense rehearsal and performances with a professional director. The Mystery Plays, performed daily on an outdoor stage in the ruins of St Mary’s Abbey, featured only one professional actor. What made it unique was the central role of the local community. The festival encompassed every aspect of classical music from chamber recitals to large-scale concerts in York Minster. That world came to life for me at the quadrennial York Festival and Mystery Plays. York Festival and Mystery Plays (1983 – 4) I never thought, or was encouraged, to look beyond the platform to see the amazing range of people - producers, programmers, technicians, marketers, planners, fundraisers - who forge the connections between performers and public. Music was a central part of my life, but I’d decided that professional performance was not for me. I never intended to pursue a career in music. And that has led me to my current role leading Orchestras Live, aiming to effect positive change in a sector that was never on my aspirational radar. I’ve always tried to learn from the highs and lows – and there have been plenty of each – to choose roles that take me in unexpected directions, challenge me in new ways and leave a practical legacy. Looking back over the path that brought me to my current role as Chief Executive of Orchestras Live, it appears to follow a logical route, though the progress felt more organic at the time.
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