'We should lean into the fundamental importance of art as part of the human experience'

Why King’s?

I come from a very medical family and, from an early age, I was determined not to be a doctor. Classics appealed thanks to some inspiring teachers at school and King’s had a great reputation in the subject. The Central London location was a big attraction, too.

What’s your stand-out memory of King’s?

The University sent me a letter of dismissal in my second year for not turning up at all to lectures. I had to beg Professor John Baron to readmit me. He asked me to write six essays over the summer, followed by two exams and a viva. If I passed all those, I’d be allowed to come back.

I’d already arranged to go inter-railing with my then girlfriend. I took two backpacks, one of which was packed with books. I sent the essays from various cities – including Seville, Budapest and Marrakech.

Professor Baron’s opening words on my return were: ‘Thank you so much for such an entertaining summer guessing the post marks of your latest essay.’

I wrote two essays on Ovid as an epic poet as the initial one from Seville got lost in the post. A second had to be knocked out without textbooks from Vienna. Both eventually turned up.

For finals, my flatmate recognised that the only way to get me to study was to remove the fuse from the TV. Thankfully, this worked and I scraped a 2:2.

What’s a key lesson you learnt at King’s?

That summer taught me resilience. My father had died about three years before and I’d buried my feelings in a box. The jolt of reconnecting with King’s reconnected me to the world.

I also learnt a lot from my professors. I was taught by Mary Beard in my first year. Dame Averil Cameron was also amazing.

Congratulations on winning our Arts & Culture Award. How did your journey into the arts begin?

I started on a temporary contract at the Arts Council before getting hired permanently. It was the first time that what I was doing professionally and what I believed in really connected. Helping to enable extraordinary artists to create life-enhancing experiences felt important.

You joined the Royal Ballet and Opera as Chief Executive in 2013. What drew you to this role?

My mum was a musician and my dad loved music. When I was 11, a baby-sitting option fell through and my mum had to take me with her to a performance at the Royal Opera House. That was my first introduction to theatre and it was extraordinary.

At the Arts Council, I was secretary for a Commission of Inquiry into the Royal Opera House. I joined the Board of Glyndebourne in 2008. When the top job came up at the Royal Opera House, I thought, ‘Forget head-hunters! I’m battering down the door.’

Ballet came later. There was a BP sponsorship event celebrating the 30^th anniversary of the Opera House. I went along with my wife, Kate, to represent the Tate galleries. After about 15 minutes, I thought, ‘What have I been doing for the last 42 years? This is amazing!’

What’s been your proudest career moment?

Standing on the bridge of Turbine Hall for the opening of the Tate Modern and waiting for the first people to come down the ramp was a huge moment. Coming back for the first show at the Royal Opera House after the pandemic was another highlight.

The third would be opening a new theatre in Hull with a Royal Ballet Gala, which was broadcast into the main public gardens to thousands of people. The reception was extraordinary.

What’s been the biggest challenge?

The world we live in now is a big challenge. We’re in chapter two of the most significant technological revolution in the history of humanity. We’re living in a time of widening wealth inequity, and dislocation between individuals and society, which is amplified by the echo chambers of social media.

This is what makes the arts more important than ever. We’re bringing together people into one shared space to reflect on universal human emotions – love, fear, loss, hope.

How can we encourage more people to support the arts?

We should lean into the fundamental importance of art as part of the human experience. When I speak in schools, I always think there’s a possibility that every person in the room could work at the Royal Ballet and Opera. Whether singing or dancing is their thing, whether they’re good at logistics or painting a set. Arts organisations offer numerous possibilities.

What’s next for you?

We’re in the middle of doing a new Ring Cycle. These four operas by Richard Wagner are the ‘Mount Everest’ for any opera house and the full cycle will open in 2027. Our new Music Director, Jakub Hrusa, also joins next year.

In July 2026, we’ll be hosting a conference on the intersection between AI and opera. But there’s so much more.

What advice would you give to alumni hoping to follow in your footsteps?

Try enough stuff out. Discover what really connects to you. Work out what you believe in and what you’re good at, and take it as far as it can go.

Read more about the other winners of our 2025 King’s Distinguished Alumni Awards here.