Your career in law is focused on commercial music and theatre. Tell us about day-to-day life as a solicitor?
As a commercial music and theatre lawyer, my work primarily focuses on non-contentious legal matters, such as negotiating deals. My role is similar to an agent’s, where I negotiate key terms such as payments, royalties and credits, but as a lawyer I provide a more nuanced in-depth review of the contract for potential risks or liabilities. The work is fast-paced and requires quick decision-making.
A typical day involves client meetings and calls, drafting and reviewing contracts and business development — building relationships with music and theatre industry personnel. The firm I work for, Clintons, is one of the world’s top-rated entertainment law firms and represents high-profile entertainment clients.
You worked as a successful professional actor and singer. Tell us about that side of your career.
Leaving the Academy in 2004 I worked initially in pantomimes and musicals before joining a classical crossover pop group put together by Jonathan Shalit and Sony BMG. It was a short-lived but exciting experience (getting a gold-certified album for our first record and performing at the Royal Variety Show) that gave me a first-hand look at the music industry.
I then focused on acting, landing an understudy role in Oliver award-winning comedy The 39 Steps in the West End. I spent a lot of time waiting for my chance to go on, and when I finally did, I was offered the lead.
From there, I worked in film and television, with roles in Downton Abbey, McMafia, Midsomer Murders and the George Clooney film The Monuments Men. In 2017, I decided to retrain as a lawyer.
Tell us about a career highlight.
My career highlight is definitely The 39 Steps. As a teenager, my dream was to perform as a West End lead, and this was a magical moment. I always preferred comedy roles, especially physical comedy, so it felt like the culmination of everything I’d worked toward, even though when I was young it all felt very far away.
Of course, transitioning to law has been a big journey too. I worked hard while studying, balancing a part-time Uber driving job with preparing for exams. I got a training contract in the entertainment space, which is a competitive area, qualifying fully after that. But nothing surpasses the personal fulfilment you feel when reaching a childhood goal. It’s something I’ll always treasure, no matter what I do next.
How has your work as a performer informed or influenced your legal practice?
It’s given me a unique perspective in my legal work. As a performer, I had little interest in the business or legal aspects and was sceptical of the business side of the industry, which I think many creatives feel.
However, moving into entertainment law, I’m now much more commercially minded, and appreciate how often companies and producers take losses before hitting on a big success.
My background in performing also helps me understand what artists are going through. I learned not to overcomplicate deals. For instance, when I signed a record deal as part of a group, I wanted the deal to be wrapped up to concentrate on recording. Sometimes, as a lawyer, it’s important not to get in the way of a deal by focusing on minor details that are unlikely to materially affect the client, while at the same time making sure the client is protected if the project becomes a success. It’s a fine balance and the context of each deal needs to be assessed on its own merits.
What are your favourite Academy memories?
My time at the Academy was special for me, especially because it followed my time at King's, where I had been in the musical theatre society. At King's, we were all playing around, having fun and at the Academy it was a more intense, focused version. The course had a collaborative and collegiate feel. We were constantly learning from each other through acting exercises and singing ‘integration’ classes. It was a unique and supportive environment.
It was rewarding to immerse myself in something I loved without worrying about practicalities like money or making the ‘best’ career choice. It was about doing something I was deeply invested in. I’m grateful for that opportunity, as many don’t get the chance to pursue their creative passions.
The Academy still holds a special place for me, and going back to be made an Associate, it is a proud achievement.
What’s been the most important thing you’ve learnt since graduating?
The entertainment industry is far more unpredictable than I initially thought! It’s not a steady climb like in other careers — there are highs, like landing a dream role, but then you might have times where you're struggling to find work and it can feel like you've taken a step back. It’s a double-edged sword as what makes it thrilling is that uncertainty — there’s always the chance that something amazing is just around the corner.
Another important lesson, which I’ve learnt from the business side, is that there is real value in creating your own assets. If you’re able to compose or write and develop that skill, or produce your own events or ensembles, it can be an income source in addition to performing and sometimes the making of your career. Not everyone can, but if you’re able to explore that, there is potential to provide added control and security alongside opportunities that other people offer you.
What advice do you have for anyone looking to follow a similar career path?
If you're considering a career in law: reach out to people in the industry. I contacted people and law firms I was interested in. Insightful information is available online, like on Legal Cheek. I had an eye-opening conversation with a lawyer who had transitioned from a creative background. Speak to as many people as possible to understand the industry and figure out what path you might want to take.
Get some work experience, even just for a day, to get a feel for the job. If you want to pursue it, be persistent. It’s a competitive field, but if you keep applying yourself and working hard, you’ll find opportunities.