Tom Creed

I’ve worked with ThisIsPopBaby on four productions so far – All Over Town (2009), Trade (2011), I Am Tonie Walsh (2018) and Sure

Look It, Fuck It (2019) – with another one coming down the tracks very soon. Why do I return again and again to a company that I’ve worked with more than any other over the past decade? It might be the finger they have on the pulse of the nation, the sense of what artists are burning to make and what the public is hungry to see. The different kinds of performance that find a home in the ThisIsPopBaby tent, from quiet new drama to fierce cabaret, that become richer for being seen alongside each other. The trust they place in artists, their ferociously keen eyes for what makes good theatre and their determination for the people they work with to do their best and give their all. The way they understand that the best work takes time, the way they stick with an idea and don’t let it go when the going gets tough. The trust their audiences place in them. The deep seriousness that underpins all the fun. I hope I get to work with them forever.