Meet Executive Director Charlotte Geeves

After an extensive international search, The National Ballet of Canada appointed Charlotte Geeves to the role of Executive Director effective September 2025, opening a new chapter in the company’s growth with Artistic Director Hope Muir. Charlotte brings a wealth of experience from across the cultural sector, most recently serving as Executive Director and Joint CEO of Bristol Old Vic in the UK. Guided by her belief in the power of art to change lives and her commitment to advancing Hope’s artistic vision, Charlotte is the ideal leader for the company right now. Here, she shares more about herself and her new life in Canada.
 
Tell us a little bit about your professional background

After my degree, I worked as a stage manager before joining the Young Vic in London as company manager under Artistic Director David Lamb. I then worked with two influential Artistic Directors at Shakespeare’s Globe – Mark Rylance and Dominic Dromgoole – before moving to Sadler’s Wells under the direction of Alistair Spalding, who was brilliant. I began as programming coordinator for all incoming dance companies, including New York City Ballet, Nederlands Dans Theater and The Forsythe Company. It was my first opportunity to work in a large–scale programming, producing environment and I built amazing relationships there.  
 
I went on to run three different types of commercial festivals – arts, film and music – before returning to the subsidized sector. Ultimately, I missed the people who work in that world. That said, I learned a lot from my commercial experience. I very much believe that everyone should have access to the arts, but I also understand that government can’t fund all of it. 

Why do you believe everyone should have access to the arts?

What drives me is my fundamental belief that art has the power to change people’s lives in totally different ways. The pandemic really showed us what we lose in a world without art and live performance. For me personally, theatre studies provided a safe place for me at school. I’m not a performer, but I got to watch dance and theatre as a 15–year–old and I was completely blown away. The soft skills you gain from the arts – the communication, trust and listening – are invaluable. Theatre wasn’t part of my life at home, so I would not have had this career without arts programming in my public school. The erosion of arts education in the public system is a terrible loss. 

What about The National Ballet of Canada attracted you to this role?

I’ve genuinely missed working in an environment that produces art. I know that in my role I won’t be in the room – and nor should I be – but I’ve missed having a close relationship with the work beyond the commercial side of things. When I started learning more about the company and Hope’s artistic vision, I was really intrigued by what I might bring to the organization to help it continue evolving. 
 
I was also interested in the scale of the National Ballet. Apart from Sadler’s Wells, which isn’t solely a producing house, I haven’t worked at scale in a producing environment. In a producing house, the investment is in the work and everything that goes with it, particularly the people. Supporting artists and staff throughout their careers is a responsibility I take very seriously. I was given massive opportunity by people I really believed in and I want to create that same environment for others. 

What do you envision for your partnership with Artistic Director Hope Muir?

I believe that we are all here to facilitate the artistic vision of the company, which is Hope’s artistic vision. How do we involve the entire organization in that process? It’s not just a collaboration between Hope and me, but with the whole company in terms of how we move forward. 

What can the worlds of dance and theatre learn from one another?

I love dance because it allows me to take what I want from it. It’s not as prescriptive as theatre because it’s not text based. I love that you can just watch and feel dance and every single audience member can come away thinking something different. There’s freedom in that. Text–based work makes this more challenging, but I’ve witnessed many brilliant theatre directors with the ability to do this. 
 
It’s hard to say exactly what dance can take from theatre, but one thing that comes to mind is about culture. There is a unique hierarchy within the world of the performing arts. That can feel slightly old–fashioned given where we are today. The hierarchy is there for a reason and I’m not suggesting we should radically change it. What I am interested in as an organization is leaning into our changing world rather than saying, “It’s always been like that, so that’s how we do it.” 

How have you and your family been adjusting to life in Canada? Any surprises?

Canada is amazing and the weather is truly beautiful – I’m really enjoying the fall colours. The warmth of the Canadian people has been a wonderful surprise. Recently I was on a bus for the first time in this country and I had to ask someone how to request a stop. He responded with the most genuine support and a wish of good luck as I stepped off! 
 
We have to ask – how will you be approaching winter this year?

As a family, we’re really looking forward to winter! My son, husband and I are all skiers and snowboarders. I’m ready for it!

Learn More About Charlotte Geeves

Top Photo: Charlotte Geeves. Photo by Ted Belton.