Inspiring Woman: Claire Swanson, Head of Creative Engagement at Capital Theatres

Claire Swanson, Head of Creative Engagement at Capital Theatres

As Head of Creative Engagement at Capital Theatres, Claire Swanson leads an extraordinary range of activity across Edinburgh, reaching over 17,000 participants a year — from young people and communities to children with additional support needs and people living with dementia. Alongside this, she has been instrumental in shaping a new artistic identity for the Studio Theatre, creating an artist support programme for Scottish theatremakers, commissioning new small-scale work, and co-delivering the Musicals Commissioning Hub in partnership with Pitlochry Festival Theatre. Her passion for inclusive and accessible theatre has seen Capital Theatres recognised with the UK Theatre Excellence in Inclusivity Award, and Barrowland Ballet’s The Gift — which she commissioned and produced — win the 2023 CATS Award for Best Production for Children and Families.

We spoke with Claire about her career journey, her inspirations, and the power of creative engagement in shaping lives and communities.

Can you tell us a little about your background and the path that led you to becoming Head of Creative Engagement at Capital Theatres?

I grew up in Leeds, studied Creative Writing, and then spent five years at Arts Council England. From there, I moved to The Lowry in Salford, where I set up the artist development programme between 2013 and 2021. In 2021, I came north to join Capital Theatres.

What first inspired you to pursue a career in theatre and, specifically, creative engagement? Was there a defining moment or influence that set you on the path to where you are now?

Theatre wasn’t even on my radar growing up. My family weren’t theatregoing types and I didn’t know jobs like mine existed. While at Arts Council England, I did a short secondment with the Theatre team and it changed everything. I dived into seeing and reading as much theatre as I could and never looked back. Now I get to see others fall in love with theatre through the programmes we run here. Creative engagement excites me because it recognises the creative potential in everyone — whether you’re a professional artist or not.

You moved from Salford, where you led artist development at The Lowry, to Edinburgh and Capital Theatres. How has that shift felt for you—both professionally and personally?

My husband and I first fell in love at the Fringe and we always imagined raising a family here. We swapped inner-city Manchester for a fishing village on the East Lothian coast where our children could have a different kind of childhood. Now I start and end the day by the sea and commute into town — the best of both worlds.

Professionally, it was a steep learning curve. New job, new city, new country, and all just as the sector was reopening after the pandemic… I had to let go of the assumptions I arrived with before I could understand how to be useful to the artists and communities in this city. Edinburgh is the centre of the cultural world in August, but the year-round picture is more complex. In many ways it can be easier to start out as a theatre-maker in Manchester or Salford because there’s more consistent support outside the festival bubble.

Looking back to when you were starting out, how do you think opportunities for women in theatre have changed?

There are inspiring women at every level of theatre, and I don’t think the sector is biased against women as such. The bigger challenge is how careers are structured: long hours, freelance contracts, touring and networking don’t fit easily around caring responsibilities. That affects access and progression for many people, not just women. Organisations like PiPA (Parents and Carers in Performing Arts) are making strides, but there’s still more to do.

What advice would you give to women who want to build a career in theatre?

Turn up. Use ticket offers, memberships, festivals, or sign up for schemes like our Opportunities for Artists mailing list to hear about offers and networking activities. Get involved with as much as you can, even the stuff you’re not sure about. Go with friends, or go alone, and talk to the people you meet. That’s how you learn and find your people and your path.

Who have been the most significant mentors, role models, or inspirations along your journey?

Denise York, who ran the film school in Leeds and happened to be my first boyfriend’s mum. She was completely unlike anyone I had ever met before — gloriously, messily dynamic, fiercely driven — and she believed utterly in the power of the arts. She opened my eyes to what a life in the arts could look like.

At Capital Theatres you’ve placed a strong emphasis on nurturing new talent. What do you feel is most important when it comes to supporting emerging voices?

Creating the right conditions for artists to thrive. That looks different for everyone, so the key is listening – really understanding what each artist needs at that point in their journey.

Are there other theatres or programmes you look to for inspiration when thinking about how to evolve your work?

I have a lot of love for David Byrne, the Artistic Director of the Royal Court. We go back to his days at the New Diorama Theatre, and his dedication to supporting artists is second to none.

Capital Theatres’ Creative Engagement reaches over 17,000 people a year. Which aspects of this work are closest to your heart, and why?

Our dementia-friendly work. It’s about more than sessions and events — it’s about making sure people feel comfortable, welcome and valued across all our spaces, and the whole organisation plays a part in that. The impact can last for days afterwards, which is powerful. I also really love commissioning work for children with complex needs such as autism, like The Unexpected Gift, which adapts Barrowland Ballet’s show for audiences of eight children at a time alongside their teachers and supporting adults. It’s a privilege to see this kind of work in action.

Productions like Barrowland Ballet’s The Gift show the impact of investing in small-scale work. How do you decide what artists or projects to commission and champion?

It’s a mix of practicalities — viability, audience, balance with other projects — and instinct. Sometimes you just know when something is special, like The Gift, which has gone from Edinburgh to Shanghai. A personal highlight was the West End gala opening of the musical Operation Mincemeat. I’d mentored SpitLip for years in Salford, and seeing them hit that stage was extraordinary. Now they’re Olivier and Tony Award winners and having a ball on Broadway — and the show will be coming to us in Edinburgh next year. They are proof that dreams do come true.

What continues to inspire you about theatre as an art form, and what’s next for you and Capital Theatres?

Theatre has been part of human life for millennia and yet it’s still evolving, still surprising us with new stories and forms. At Capital Theatres I love the range we present, from the Festival and Studio Theatres to the King’s, which I can’t wait to see buzzing again next year. My hope is always that communities and audiences leave us with the joy, wonder and sense of belonging that sharing live performance can bring.