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Hello! I’m a freelance writer for stage and screen, a theatre producer and educator. I’ve been working in the performing arts for 20 years and have written over 80 commissioned scripts, but when I first started experiencing peri-menopausal symptoms I genuinely wondered if I’d ever be able to work again.��

It felt like, overnight, my brain had stopped being my brain. Not only had my ability to form coherent sentences ground to a halt but all the words, structures and stories that had previously been really easy to access, had been replaced with a ball of white-hot rage and anxiety.

This state of affairs was not at all conducive to being able to carry on working in a fast-paced creative freelance career.�� Panic set in.

After a bit of wailing, ranting, and a lot of walking the dog, I took a few calming breaths and then I started researching the impact of menopause on creative brains. A guest blog on the BAPAM website by the wonderful Sophie Tott was pivotal in helping me to realise that I was definitely NOT alone. From there, it was reasonable to think that a lot of my friends and colleagues must be in a very similar boat to mine. And so we all started to talk, honestly and openly, about the brain fog, the weird and distracting symptoms (itchy ears, anyone?), and the rage that lurks constantly just below (or above) the surface.

I soon realised that there isn’t a great deal available in terms of easy-to-find industry support for ‘writers who suddenly can’t write because their body is undergoing seismic hormonal shifts’ so, with a few other wonderful writers, I set up a WhatsApp group of peri-menopausal and menopausal writers.

In no time at all we had created one of the most supportive and creative communities I have ever been a part of.�� Our conversations, on a daily basis, range from anxiety about work, to amusing anecdotes about menopause-induced aphasia (not being able to find the right words) to discussions about nutritional supplements, music to listen to which boosts focus, good pyjamas to combat hot flushes, and much, much more.

There was just so much brilliant advice and supportiveness that I felt inspired to collect it, shape it, and turn it into a resource pack which other writers might find useful. was born.

This document soon turned into two documents: one for writers and one for those who work with and support writers who are experiencing menopausal symptoms. These documents are also a hope for more conversations leading to more understanding and support across the creative industries for affected writers.

Since creating these resources, I have been overwhelmed by the positive response and support from theatres, literary organisations, publishers, and BAPM. Everyone I’ve reached out to has responded so positively and it’s been incredibly encouraging to see the logos of supporters on the back page grow and grow (and it’s still growing – please get in touch via my website if you’d like to support these documents).

What started as a response to a moment of personal crisis has grown into a supportive community and from there to, hopefully, the start of a sector-wide conversation.

And the response to this project, as well as several others I am working on at the moment, inspired me to set up a new company . All of the work of my new company is driven by a desire to harness my new peri-menopausal energy (and yes a certain amount of rage) into activism and advocacy where I can to inject kindness and common sense into the arts.

The Writing the (r)Age resources will be launched at Sheffield Theatres on February 25th, with a panel of phenomenal and fascinating speakers, including BAPAM’s Lucy Heyman. You can book tickets for both the launch event and companion workshop (on having fun with accidental surrealism caused by aphasia) ��

To download the resources visit: ��

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About the writer: Rachel Barnett-Jones – Writer, Producer and Sensible Creative

Rachel is a writer, educator and arts advocate. As the founder of, she is committed to dismantling the complexities of the professional arts to ensure that creatives are protected, informed, and respected.

Her work as an advocate is built on a career of world-class storytelling, with writing credits spanning television (Sky Kids’ Pip and Posy, S4C/ITV’s Tiny Buds), audio (Tonies, Lapland UK), and international theatre (Polka, Chichester Festival Theatre, York Theatre Royal).

By merging her creative practice with a tireless commitment to practical kindness, Rachel is working on a variety of projects which, she hopes, will make the arts a happier and healthier place to work.

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The �� and the Ģ��tv (BAPAM) have unveiled a new Guidance Note at the ABTT annual Christmas Party on the 5^th December, timed to coincide with panto season – an often intense and stressful period for backstage workers.

is the first dedicated guidance of its kind focusing on the physical health of backstage professionals in the theatre and live production sector.

ABTT CEO, Liz Sillett (centre) with Mig Walsh, GSA (left) and Claire Cordeaux (right) at the launch of Guidance Note W101 at Gillian Lynne Theatre on Friday 5th December

This extensive, evidence-based resource recognises the essential link between physical and mental well-being and arrives at a critical moment for the industry. Building upon the initial , introduced at the in June 2024, the guidance represents a long-awaited, in-depth framework designed to improve backstage workplace health and provide practical support for theatre professionals.

Backstage professionals—including lighting, sound, stage, rigging, AV, costume and wardrobe departments and automation technicians—often work in demanding environments with long hours, heavy equipment, and limited recovery time. With more than 70% of the workforce identifying as freelance, the sector faces unique challenges when it comes to managing health and safety.

This new Physical Wellbeing Guidance Note provides detailed, practical recommendations aimed at improving physical health outcomes and reducing the risk of occupational injury or chronic illness for backstage workers.

It also includes:

• A breakdown of the S.T.A.G.E. C.R.E.W. mnemonic:
  Sleep, Training & Technique, Appetite & Diet, Good Hygiene, Environment (risk assessments), Clinical Support, Rest & Recovery, Exercise & Warm-Up
• Real-life case studies exploring common physical health issues
• Managerial guidance on supporting staff health
• A self-assessment tool for individual workers to evaluate and improve their wellbeing

The guidance draws on the ABTT’s deep sector expertise and BAPAM’s four decades of clinical experience in the performing arts. It is designed to be accessible, free to download, and relevant to organisations of all sizes.

The Physical Wellbeing Guidance Note will form part of the ABTT Code of Practice for the Theatre Industry in the UK, recognised by the Health and Safety Executive (HSE) as an Established Standard, and will be referenced in the Technical Standards for Places of Entertainment.

It will be made freely available via the and integrated into the growing suite of , further supporting theatre venues and employers in meeting their responsibilities under the Health and Safety at Work etc. Act 1974.

“As the largest provider of clinical services to the UK’s performing arts sector, we are proud to announce this milestone partnership with the ABTT. This is a major step forward in recognising and supporting the physical health of backstage professionals – an area long overlooked. A vibrant, healthy workforce is essential to the future of live performance.”
Claire Cordeaux, CEO, Ģ��tv (BAPAM)

“The ABTT and BAPAM have worked in partnership since 2018, united by a shared commitment to improving health and welfare for the technical workforce. This new guidance is both timely and essential, providing clear, practical advice to support the wellbeing of those who bring live performance to life, and helping the industry embed healthy practices across all backstage roles”
Liz Sillett, CEO, Association of British Theatre Technicians (ABTT)

“I’m delighted to share this landmark document—the first to provide physical welfare guidance for backstage staff. My thanks to the ABTT for funding the project, to the clinicians at BAPAM for bringing it to life and to The Guildford School of Acting for supporting its development. This guidance is a vital addition to the ABTT’s technical standards and the growing series of welfare resources, helping to place health and wellbeing on equal footing with safety across our industry and I hope the sector can recognise the value of this guidance in improving health and wellbeing backstage.”
Mig Walsh, Senior Lecturer at Guildford School of Acting

Guidance Note W101: Improving the Physical Health of Backstage Staff can be downloaded on the ABTT Website for free here:

Notes for Editor:

About ABTT

The Association of British Theatre Technicians (ABTT) is a registered charity and membership organisation dedicated to raising technical standards across theatre and live performance. Founded in 1961 by a committed group of theatre technicians, the ABTT has become a trusted authority in the industry, providing expert technical advice, consultations, training, publications, and essential resources such as its Guidance Notes.

In addition to its technical leadership, the ABTT fosters collaboration and knowledge-sharing through a wide range of networking opportunities, including events, seminars, conferences, and its flagship annual ABTT Theatre Show.

Working in partnership with the National Theatre Safety Committee, the ABTT produces the Code of Practice for the Theatre Industry, which is formally recognised as an Established Standard under the Health and Safety Executive’s (HSE) Enforcement Management Model. The newly launched Guidance Note will now form part of this Code of Practice and will also be referenced in the Technical Standards for Places of Entertainment, reinforcing its role as a benchmark for health, safety, and best practice across the UK theatre sector.

For more information, please visit

About BAPAM

The Ģ��tv (BAPAM) is the medical charity for the performing arts, working with performers and industry professionals, from musicians and singers to dancers, actors, and circus performers as well as those who work behind the scenes.

The charity provides free, bespoke sector-specific care from expert clinicians in a range of disciplines, responding to requests for help with mental health, musculoskeletal care, vocal health, hearing concerns and some eye care and dental health issues. BAPAM’s wider network of more than 300 Ģ��tvs across the UK also offers support for health problems and injuries associated with work in the creative sector.

Established in 1984, BAPAM helps thousands of people each year to enjoy a healthy and sustainable career in the performing arts, and works across the sector with organisations including Help Musicians, the Musicians’ Union, Equity, PRS Members’ Fund, PPL, the Royal Society of Musicians, Actors’ Trust, Dance Professionals Fund, Equity Charitable Trust, Association of British Theatre Technicians, Healthy Conservatoires,��and the Royal Variety Charity.

For more information, visit

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“Before stepping on stage, I close my eyes and mentally perform every bar, hearing and feeling each nuance.” — Yo-Yo Ma

Thoughts, feelings and images run through our minds as we approach important events. Do you mentally run through an upcoming audition, or important performance? Do your images and thoughts help you create the performances you want to deliver? If not, then you could be overlooking one of the most powerful tools for success: mental imagery.

For performing artists, mental imagery (MI) consists of guiding your images in a constructive positive way to enhance your performance in practise and on stage. Backed by science, mental imagery (MI) is an excellent tool to prime the brain and body for optimal performance.

What is Mental Imagery and why is it important?

• It is often called visualisation or mental rehearsal
• It involves using all of your senses (see, feel, hear, taste, smell) to rehearse your performance in your mind
• MI is a skill which can be learned

Structured MI programmes are supported by science and proven by elite performers, to help refine technical skills, deepen emotional expression, and manage stage-related anxiety.

Mental imagery provides a valuable opportunity to prepare for and practise dealing with problems, challenges, or upcoming performances in your mind before you tackle them in real life. As conductor Gustavo Dudamel highlights, “I imagine the entire orchestra; then my part fits naturally into that picture.”

Scientific Support for Mental Imagery

Recent neuroimaging techniques have enabled researchers to examine the neural underpinnings of MI in the brain. MI has been found to use similar neural mechanisms used in perception and motor control, which is relevant for performing artists too.

In a review of the literature on the benefits of imagery use for peak performance in sport, Janjigian (2024) concluded that MI is a rigorously supported psychological tool for athletes across all skill levels to enhance performance. Janjigian (2024) found evidence to support psychological, physiological and neural mechanisms, underpinning it’s effectiveness.

An exploratory study by Gregg, Clark and Hall (2008) into musicians’ use of mental imagery found that, musicians reported employing imagery to limit distractions, recover from an error, maintain mental toughness, demonstrate confidence, and overcome mental and physical fatigue.

Furthermore, performance majors indicated using imagery significantly more frequently to see themselves overcoming a difficult situation than non-performance majors, while voice musicians employed imagery to see goal achievement more often than instrumental musicians.

Key Benefits of Mental Imagery for Performing Artists

Build Confidence – imagining yourself performing a piece you have been practising, will help give you a feeling of mastery, which in turn boosts your confidence.

Managing Performance Anxiety – Imagining yourself feeling calm, focused and confident on stage, can rewire your typical stress response. Repeated mental exposure to performance scenarios reduces fear and equips you with coping strategies, if you start to feel nervous.

Performance Preparation – Mentally rehearse how you would like to perform (e.g. calm and focused). Imagine the theatre, the audience and use all your senses to create a real-life experience.

Enhancing Expressivity – mentally rehearse expression and dynamics of piece to deepen interpretation. Use to plan and explore the expression and message of the piece you are playing.

Enhancing Technical Skills – MI allows you to rehearse and address tricky passages, before you physically perform them. Mentally imagining them, strengthens neural connections related to timing, coordination and accuracy.

Reinforcing Muscle Memory – kinaesthetic imagery, feeling the tension, release, and flow of your movements, is a brilliant way of boosting learning of new skills. It speeds up motor learning by replaying movement patterns in the brain.

Key To Effective Mental Imagery

To maximise your imagery training effectiveness focus on:

• Vividness and detail
• Controllability – being able to control and manipulate your images as you want to, a bit like editing a film in your mind
• Using all senses (see, feel, hear, smell, and taste) and emotions

Tips for getting Started

1. Practice makes perfect. Imagery is a skill that needs to be practiced to be effective.
2. Aim for quality practice. It is important to start with brief high quality mental imagery training sessions. Effective imagery is mentally tiring, so aim for quality images over short periods of time and increase your training times as you master the skill.
3. Identify your scenario to image. Pick a specific performance you want to image.
4. Add detail and make it as realistic as possible. Imagine the stage, the lights, the audience, the sound of the others performers around you, taking a sip of cool refreshing water.
5. Include all your senses. What can you see, hear, feel, smell, touch and taste? Feel your body moving as you would when you perform.
6. Imagine setbacks and mentally rehearse your response to them.
7. Make MI a habit. While brushing your teeth in the morning imagine a few bars of a current piece/a few lines of a play. Spend a couple of minutes before practice/rehearsal imagining any difficult passages you will be practicing. Whilst commuting home after a show, do a MI review of your performance.

Additional suggestions

• Keep a MI training journal – note what you imaged, rate how it went and what you learned.
• Use guided audio scripts, or even better, record your own to stay consistent.

Read more posts in this series: Performance Psychology articles by Dr Anna Waters

Step by step visualisation exercises: BAPAM: Visualisation Techniques for Performers

References

Gregg, M. J. and Clark, T. and Hall, C. R. (2008). Seeing the sound: an exploration of the use of mental imagery by classical musicians. Musicae Scientiae, 12 (2) pp. 231-247. ISSN 1029-8649 (print) 2045-4147 (online).

Holmes, P. S., & Collins, D. J. (2001). The PETTLEP approach to motor imagery: A functional equivalence model for sport psychologists. Journal of Applied Sport Psychology, 13(1), 60–83.

Janjigian, Kiersten. “Picture perfect: the science behind mental imagery for peak performance & best practices for mental imagery protocols in sport” Journal of Imagery Research in Sport and Physical Activity, vol. 19, no. s1, 2024, pp. 20230027. https://doi.org/10.1515/jirspa-2023-0027

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P.E.R.F.O.R.M.A.N.C.E highlights some of the causes of these health problems and teaches essential skills and knowledge to prevent or resolve them. BAPAM’s new season of free webinars for artists, creators, teachers, organisers and the wider industry begins on 27 September. Each session is led by an expert BAPAM trainer and focuses on one area of the P.E.R.F.O.R.M.A.N.C.E mnemonic:

Posture
Environment
Routine
Fitness
Overuse
Rest and Recovery
Mental Health
Anxiety
Nutrition
Clinical Expertise

Booking for all sessions is open here: /events

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BAPAM’s GP in Belfast, Dr Christine Hunter, who is also an NHS GP and the medical adviser to Ulster Orchestra, shares clinical expertise and talks with local musicians about health goals and essential support at 7pm on 11 Nov: .

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As part of PRS for Music’s On with the Show campaign, BAPAM and present a series of webinars to support creators as they get back to performing live. Facilitated by Dr Terry Clark from the , who has a particular interest in creativity, mental practice and performance psychology, the series provides a safe space for members to reflect on the past year and their creative practice.

Terry Clark is Research Fellow in Performance Science at the Royal College of Music and an honorary Research Fellow at Imperial College London. Terry’s research focuses on the assessment and development of performance skills, experiential learning, and stress measurement and management.

Established 30 years ago, BAPAM is the largest provider of Performing Arts Medicine in the UK with coverage across the four nations and a growing Directory of over 200 approved clinicians.

PRS Members’ Fund was built to support PRS members struggling financially, physically or emotionally – whether that’s with financial help, housing, mental health or physical health issues.

Terry Clark will be joined by experts in creativity over the six-week series to facilitate participants to:

• Share their experience and practice
• Help members to build confidence and deal with their inner critic
• Find their voice, understand what drives them
• Learn more about what creativity is
• Build mental and physical stamina to get back to work safely and build a network and stay connected

Workshops will run on:��5 November, 12 November, 19 November, 26 November, 3 December and 10 December. All sessions will take place from 11 am to 1 pm. Zoom meeting details will be sent prior to each events.

PRS Members can for the whole series or for individual sessions.

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