Who is Tom?
I started my career as a performer before moving into production and company management. That early experience taught me to see every production from both sides — the artistic and the operational. Today, I use that understanding to design systems that help creative teams thrive and keep productions running efficiently and professionally.
My work spans company management, venue operations, ticketing, operations, and large-scale event logistics. I’m passionate about building practical processes that empower creativity and make teams feel supported.
I was raised in an arts-focused family in Geelong, surrounded by music, movement, and storytelling. After training with Robin Lee and Peter Dickinson, I was accepted into the Victorian College of the Arts Secondary School (VCASS), where I completed my VCE. Later, I graduated with a Bachelor of Dance from the Victorian College of the Arts.
After completing my studies, I joined the Australia/New Zealand touring cast of Fiddler on the Roof starring Topol. That experience sparked my interest in arts management and furthered my curiosity about how productions operate behind the curtain.
Since then, I’ve been fortunate to hold roles across a wide range of companies and festivals — each one shaping my skills in operations, leadership, and collaboration.
I’m known for my strong work ethic and calm, positive approach. I believe that when people feel supported and valued, productivity improves, and creativity flourishes.
Four decades of VCA Dance artists and where they are now – Read More
It All Began When...
I’ve always been drawn to the performing arts — even as a child, I couldn’t stay out of the dress-up box. I’d spend hours creating characters and plays, until my kindergarten teacher, Ruth, eventually banned me from it to give the other children a turn! That story has always stayed with me as a gentle reminder that my career in the arts was inevitable.
In Depth
During Year 11, I sustained an injury that paused my dance training for six months. The Head of Dance at VCASS suggested I explore a career alternative, just in case I couldn’t return to performing, and I was offered the opportunity to be an Assistant Stage Manager for the end-of-year dance season. I loved it. From there, I spent more time with the production staff, learning about the various departments and roles that come together to bring a show to life.
By graduation, I was already being hired by the Victorian College of the Arts to assist with production work across the dance and drama schools — an experience that deepened my respect for the collaboration behind every performance.
After university, I joined the ensemble of Fiddler on the Roof with TML Enterprises. When the tour downsized and my role was cut for one leg, I took on administrative work in the company office, where I learned the fundamentals of arts administration. That experience opened the door to a career that would blend creativity with structure.
Under the guidance of Adam Lowe (Adam Lowe Group), I expanded my administrative and production skills, working across various clients and projects. In 2013, I joined the Australian tour of Chitty Chitty Bang Bang as Deputy Company Manager, followed by The King and I. A summer role as Swing ASM on Grease (GFO) further solidified my passion for entertainment — the precision, teamwork, and rhythm of live performance.
Soon after, I was offered the opportunity to oversee the operations of the newly redeveloped Alex Theatre St Kilda. Transforming a cinema complex into a multi-space theatre venue, I drew on my industry experience to establish systems that supported everything from client management to marketing and day-to-day operations.
After my time at the Alex Theatre St Kilda, I moved into large-scale public events, coordinating operations for White Night Melbourne, regional White Night events, and the three-day White Night Reimagined. I also served as Access and Inclusion Coordinator for Vivid Sydney, overseeing accessible infrastructure and transport for the event, which is annually attended by over two million people.
Following White Night and Vivid Sydney, I rejoined Midsumma Festival Inc. to lead a State Government budget bid and consultation process for a one-off LGBTIQA+ event. During this time, COVID-19 struck, changing the shape of the events industry completely.
After lockdowns, I was engaged by the Victorian Pride Centre to support venue hire management and administration before returning to commercial musical theatre. Since then, I’ve worked as Deputy Company Manager on Jagged Little Pill, A Christmas Carol, Tina – The Tina Turner Musical, Moulin Rouge! The Musical, and Annie.
Between Tina, and Annie, I’ve also contributed to the Melbourne Theatre Company in the People & Culture department, where I focused on health & safety, and systems streamlining — further refining my operational approach to theatre management.
Where am I now?
Today, I continue to bring clarity, structure, and empathy to creative environments. Whether managing a touring company, coordinating a festival, or improving internal systems, I’m at my best when helping teams deliver exceptional work.