'Regional venues are generally the old-school stage and dance hall set-up. Because I work regionally and do so much training, when [I go to] the UK, compared to other artists in the UK, I'm incredibly competitive because I'm really precise about my practice. When I'm bringing up terms within my community to do with improvisation practice, or when I'm referring to Keith Johnson and his improvisation practice, or puppetry techniques or directing techniques, there isn't the shared vocabulary that exists within my theatre community. [...] many people that were so excited - 'You're back! I'd love to work with you on this!' - when you push the conversation a bit further, there is a real fear: 'I don't think I'll be good enough; it's something I wanted to do as a kid, but I just never really pursued it; I don't really have time'.' (Publication abstract)
