Thoughts for May: Opportunity Knocks
Emily Snooks and Kathryn Hanke in Mother of the Revolution in 2024. Photography by Emily Goldie
This month, following on from a great couple of weeks working with Leeds Conservatoire’s Actor-Musician Cohort and considering what it means to build a sustainable career as an artist, and what advice you might give to someone just starting out, (or go back in time to tell yourself) we’ve enlisted the help of two absolute icons to talk about the trajectories their careers have taken and what success means to them.
Kathryn Hanke (Kathryn played the formidable and iconic Betty Beecroft, the titular Mother of the Revolution)
Firstly, I think creatives come in all different types and no one’s experience is definite. For my part, I am an actor from a working class background, and a family without any other performers, so everything was new to me when I started. And these thoughts come from 20 years down the line...
I think the first thing we have to do as creatives is redefine our perception of success.
When we begin, and particularly if we come from non-performing backgrounds, success looks linear, logical and like something that builds to large financial recompense with some certification of greatness implied. Growth like from the tiny acorn to the splendid oak. Inspiring.
However…
When you have been working the circuit for a while, you realise that growth looks less like the tree, and more like a sprawling memorabilia collection in a terraced house. A jumble of different pieces (jobs) with no clear patterns of size or importance, no traditional progression, but just a gradually widening collection.
To the outside eye, less inspiring and more confusing. A chaotic job collection of all shapes and sizes.
United by one thing:
You.
But don’t forget, you choose each one, they’re not prescribed for you, and if you are still building this left-field collection by selecting your own working opportunities when you’re in your 60s, still paying the bills through picking the things that move you, then that is success. And sitting in my terraced house which is paid for by performing, even on the wrong side of 24 audition tapes that didn’t land, in this way, I am succeeding.
So, with this in mind, what has helped me build my collection?
Especially as someone who didn’t go to drama school, which means I can’t always get into rooms to have a shot at a big job? (Cue a metaphor of me banging on the windows of a collectors fair)
Well, I’d say what helps is embracing the chaos – by never saying never.
When you’re full time (ie you don’t have a part time job) you have to look to do anything and everything you can. So I have been an audience plant, counter-weighted other performers on jobs, acted at club nights, offered to learn instruments I couldn’t play, MC-ed silent discos, hosted corporate events… anything which had performing as a part of it. And the beauty of doing this is that you gain additional skills along the way which you can continue to offer if you like them. I would never have sung on stage had it not been for seeing the Archipelago call out for Mother of the Revolution. It wasn’t something I did at the time, but I was happy to try it. And it’s gone on to be something I now do a lot and brings me huge joy.
This also feels more organic and cost effective way of acquiring skills sometimes than taking courses to expand your skill set for potential jobs. When you don’t know what you’ll need. But equally, if taking classes brings you pleasure in other ways – go for it. Because carrying on the collecting is hard, so the one constant is always…
Do what you need to keep you hardy and happy
Emily Snooks (Emily played Eva in Mother of the Revolution and is bringing Charlotte Brontë’s heroine Caroline Helstone to life in Shirley: An Awakening)
My career so far has been one shaped by curiosity, openness, and a genuine love of trying new things. I’ve always found it hard to fit myself into just one box, and that’s something I’ve really come to embrace. Over the years I’ve worked as a backing vocalist, solo singer, voice-over artist, performer in children’s theatre, and actor-musician in political theatre. More recently, this journey has led me to the exciting stage of creating my own work, which feels like a natural and deeply rewarding progression.
Each role has brought its own challenges, joys, and lessons, and together they’ve created a career that feels wonderfully varied and full of possibility. I am so grateful and lucky to have been part of them all.
One of the things I value most about working in the arts is that there’s no single path to follow.
My own journey certainly hasn’t been linear, but that’s exactly what has made it so stimulating. So much of it has come from being willing to say yes - yes to opportunities that felt exciting, yes to things that felt slightly terrifying, and yes to experiences I couldn’t always predict the outcome of. These leaps have led to growth, new skills, and a deeper understanding of myself as an artist. They’ve also introduced me to some truly inspiring people, many of whom have become cherished collaborators and friends.
A hugely important moment in my career was working with archipelago on the R&D of Mother of the Revolution. It was my first experience in a professional rehearsal room, and it had a lasting impact on me. It showed me that creative spaces can be both ambitious and deeply supportive - that hard work and playfulness can absolutely coexist. That experience shaped not only how I work with others, but also the kind of environments I want to be part of. As I’ve started developing my own work, I’ve carried those values with me: generosity, trust, collaboration, and a sense of joy in the process.
Another major turning point was accepting the role of lead vocalist for TUI Sensatori in Egypt. It was a huge leap, and one that pushed me far beyond what felt comfortable at the time especially because I was going to be away from my partner, friends and my family; my support network. But it was also incredibly empowering. Living and working abroad and navigating such a different environment, taught me so much - about resilience, confidence, and what I’m capable of when I really back myself. It also opened doors to further opportunities when I got back home that may not have arisen otherwise. Looking back, I am incredibly grateful that I chose to take that risk so I recommend pushing yourself out your comfort zone if you can!
The end of 2025 brought a very different kind of challenge.
I was dealing with vocal health issues (vocal nodules), at the same time as navigating some difficult mental health struggles. I had to take some time off from my work to get my health back in check (this is so important!). That period taught me a great deal about resilience and self-advocacy and I’m incredibly proud of how I handled it. I sought out the best support I could, from vocal specialists (big up BAPAM and Help Musicians!) to mental health support, and really prioritised my wellbeing. Coming into 2026, I feel stronger, healthier, and more determined than ever, with an even deeper appreciation for the importance of caring for both myself and my voice.
Now, as I continue to grow, I feel excited by how my career is evolving.
Creating my own work feels like a natural next step - an opportunity to bring together everything I’ve learned so far while exploring new ideas and asking new questions. I’m still driven by the same curiosity that first led me into this industry, but I’m also more intentional about the work I choose.
I know the kind of spaces I thrive in, the stories I want to tell, and the kind of collaborator I strive to be:
someone who is reliable
open-hearted
and always ready to bring warmth, energy, and a little bit of fun to the room.
Big up to Kathryn and Emily for providing the inspiration this month, and now for our contribution, the big recs for the month ahead!
Beth recommends:
A read: Still buzzing from Joshua Idehen’s incredible gig at the Brudenell Social Club a couple of weeks ago (if you missed out on his tour this time round, for your soul you need to book for when he’s out again in November). He had the brilliant Kate Ireland supporting him and I snatched up a copy of her amazing, visceral, funny poems Adaptive Strategies for a Sensitive System straight after her set; and you should too!
A listen: Beyoncé’s seminal Lemonade has just ticked into its 10 year anniversary. As good a piece of storytelling now as it’s ever been. Still as haunting, still as full of grief and power and rage and sex and beauty. Just still so good. Don’t sip it slowly. Gulp it down.
A watch: I’m going to see it tonight, and I can’t wait for it’s camp joy. The Devil Wears Prada 2. For Spring? Groundbreaking
An event: I’m in the midst of one of my “pinch-me” jobs, working on the National Theatre’s Connectionsprogramme. A 31 year-old festival of mega new writing performed by thousands of young people across the UK. So far I’ve seen incredible shows across the board, with young companies taking over the stages of their local theatres in York, Worcester, Norwich, Manchester, Derby and Doncaster and this weekend I’m off to Aberystwyth for more! I did Connections when I was a young person and it truly made me believe I had a spot in this industry. No-one really is a supporter or lover of the arts who doesn’t support and champion the talent coming up. This feels more and more important to say when it feels like opps for new artists are getting rarer, and especially thinking about the graft that Kathryn, Emily talk about in this blog and all of us in the arts put in to start and sustain a career in the industries we love.
So… my event plea is: if you have a youth theatre near you, support their shows; if you have a drama school near you, support their shows; if there are open-mic nights at pubs for music and comedy or scratch performances, show out. We are nothing without the hands that raise us up.
Seán recommends:
A read: Next week it’s local election time. Exercise your democratic right, and know who your voting for by reading about your local candidates on Who Can I Vote For?
A listen: Angélique Kidjo’s Hope!!is a masterclass in rhythms and enormous vocals, with an outrageous guest-list to boot. Listen LOUD. and HOPE, with two exclamation marks!!
A watch: Quite late on this one, but have finally (following many, many recommendations) started on Mackenzie Crook’s Small Prophets. Only a couple of eps in but an excellent start, with just the right amounts of odd, ambient comedy and grief.
An event: Come on… It’s May Day Bank Holiday Weekend. What else are you doing other than sitting inside watching the Snooker World Championship Final play out! Obsessed.