Working in wigs and make-up seemed a good way to combine my artistic streak and my background in amateur dramatics. I did an apprenticeship, including two years at my local theatre in Gelsenkirchen, Germany, before moving to Bonn and then to London. I've been in this industry for 20 years now, and in this role for seven.
- What does management mean to you?
I don't believe in frightening people, but you have to be firm and mean what you say. I'm passionate about my job and proud of what this team can achieve. There are over 900 staff here, 70 of us working on wigs and make-up, and we see it as a privilege - this is the best opera house in the world.
- What do you like/dislike about your job?
I'm not keen on disciplining people, but wherever you work, there will always be the odd person who doesn't play the game. I love seeing our part in a production come together. At the beginning, it's fuzzy around the edges, but once you start fine-tuning, it's as if you've put glasses on, and everything has become clear. Jonathan Miller's production of Don Pasquale was incredibly challenging for us. But Isabella Bywater, the designer, gave us so much background material that we were able to immerse ourselves in the story. I've had to acquire a taste for opera. I am still fighting with Wagner.