What it's like to...Run a theatre

The arts manager, who leads a team of 125 staff, books big name stars to feature in the West Midlands and is also president of industry body UK Theatre, takes each day as it comes.

"The wonderful thing is there isn't a typical day. Everything depends on what shows are on. I'm lucky that I spend a day a week out the office having meetings or watching other shows.

"And when we have a show on, I do try to pop into the foyers to meet the audiences and check the restaurants and bars and get the general buzz of it. Nothing gives me more satisfaction that seeing people leave with big smiles on their faces," she reveals.

Fiona had an interesting route to Birmingham's Hippodrome. She started her professional career as a classical musician in her native Australia. Playing the clarinet for a further 40 years, however, didn't seem like much fun. So when she reached her mid-20s, Fiona decided to call time on her life as a professional musician. "It was a life I didn't want," she admits.

She went back to university and did more training so that she could move into arts management. "I went to Sydney Opera House as a producer and also ended up running the Sydney Film Festival. Then I moved to the UK 12 years ago. I came out on a 12-month contract but here I am, 12 years later. I get back to Australia to see my family once a year. There's never really been a plan. I've just followed the opportunities."

Fiona worked in Cardiff and Leicester before moving to Birmingham Hippodrome 15 months ago as CEO. "As one of the most successful and popular theatres in the world, Birmingham Hippodrome is perfectly placed to expand its reach, deepen engagement and make a big difference to people's lives.

"I've enjoyed starting some new conversations with my team here, with patrons and with producers about how we can do even more together. I want to see the Hippodrome using its expertise to bring unique events to Birmingham and to grow an audience that is truly reflective of the city – young, dynamic and diverse."

Her biggest show of the year is the UK's most popular panto. It features an all-star cast and this year's production of Dick Whittington has been a belter. "We sold over 100,000 tickets for the panto and it's proving just as successful as ever."

Fiona and her team develop close relationships with the panto cast because they are in the city for so long and they build friendships. "The cast are here for a couple of months so we all get to know them. It's a shame to see them go at the end of January.

"The panto is really important to us and it has been here for years and years. We are lucky that our director, Michael Harrison, is the best in the country, hands down and without doubt. Our production is always very lavish."

Being CEO of one of the UK's biggest theatres has been a huge learning curve. Though Fiona was familiar with the Hippodrome before her arrival, she simultaneously moved to a new city and new venue.

She intended to get under the skin of the West Midlands during her first 12 months so that she could find out more about the region and what people like.

"I want to understand the audiences and what we can do more of to serve the community. The Hippodrome is fantastic at serving the existing audience but a lot of people still aren't coming here and that's something we want to change."

So Fiona spends much of her time leading an initiative to reach children at local schools. She's expanded the Hippodrome's education programme and brought in a role of Head of Creative Learning, who liaises with schools.

"One of the difficulties we face with so much arts and culture being removed from the school curriculum is that children become disconnected. We are in quite a divided society but the arts can connect people," she says.

She also says there is a big difference between here and her native country.

"The West Midlands is very different to Sydney, which is just really flashy. It boasts about how good it is, even if it's sometimes not. Birmingham is the opposite. It's a really great city but it doesn't boast about anything. There's a great modesty and charm in being understated but sometimes it works to Birmingham's detriment. We should be proud of who we are and what we've got."

Fiona meets other arts leaders frequently to discuss their work and talk about collaboration. She will gradually adjust the theatre's programme to suit local theatre-goers, though that will take time. "The venue programmes so far in advance. We are already programmed well into 2020 so we have to start at the fringes before making bold statements on the main stage."

Dance plays a major part in her work and she was thrilled to be strongly connected with the international-standard Birmingham Royal Ballet, which uses the Hippodrome as its home.

"The BRB is a big part of the Hippodrome's reputation nationally and further afield. We are a well known dance house. Having an international class company like BRB makes us really special. That was a persuading factor for me in moving here."

Fiona couldn't do the job on her own and praises staff working for the venue. "The Hippodrome is a big employer and that comes with enormous responsibilities. We are very lucky. We have an amazing work force of highly talented people here."

She also spends time building partnerships with Birmingham City University, the local council and other arts bodies around the UK, and partnerships are the way forward, she says.

But it's the second city she is drawn to. "Birmingham is a very welcoming city and I have peer support whenever I need it.

"It's amazing with so much going for it. We are a big grown up city and we shouldn't be scared to stand up and shout about it."

Andy Richardson