Amanda joined Charcoalblue as an architect with experience managing and coordinating performance related construction projects. She is a graduate of the Edinburgh College of Art and developed a passion for theatre whilst working with the Edinburgh Festival City Theatres Trust.
Before joining Charcoalblue, she worked for Foster Wilson Architects on a number of performance-related projects for clients such as the Barbican Concert Hall, Apollo Hammersmith and the Ambassadors Theatre Group. She developed extensive construction experience as a Part II Architectural Assistant with BHM Architects who are leaders in the independent schooling sector. With BHM, she helped to deliver Ibstock Place School Performing Arts Centre, Winchester College New Hall and Farleigh Music School to completion.
In her spare time, Amanda is a front of house volunteer with the Camden Roundhouse Trust.
Amanda’s consultancy work with Charcoalblue includes the Marina Bay Theatre, Esplanade in Singapore and DeepMind, London.
Amanda sharing skills and knowledge with delegates looking to develop their professional theatre career at the annual Backstage Professional Development Conference at the Barbican Centre.
Brian and Amanda at Storyhouse in Chester for seating commissioning.
Tina, Kathryn, Gary, Elina, Lee, Amanda and Gavin from our theatre design team huddle in for a photo.
What's the greatest lesson you've learnt as a Theatre Consultant?
My colleagues are brilliant. We're all from completely different professional backgrounds, meaning the array of experiences and knowledge is astounding. If you don't know something, I've learnt to ask, as there is probably an eccentric story behind it!
What first sparked your love of theatre or performing arts?
I’d never really been to theatre before I landed a job working front of house in my first week at University. Suddenly I was surrounded by artists, dancers, painters, performers, jewellers and absorbed into a vibrant group that was passionate about performance and the arts. I remember working my first panto season at the Kings Theatre in Edinburgh and felt at home in the well-worn cosiness that comes with such a beloved venue.
What qualities should a 'great performance space' have?
For the audience, I think a great performance space is one that appears to be effortless, beautiful, functional yet invisible simultaneously.