Facebook: Ameena Hamid Productions
Tell us about your creative path so far and any milestones that you have?
I’ve been producing for two years and in that time have worked on twenty projects in different capacities, so it’s been busy! Another producer recently described my career as a rocket ship and I’ve yet to find a better descriptor.
In that regard, there have been a lot of milestones but most notably I recently became the joint youngest and the youngest female West End producer with my role as an Associate Producer on TuckShop’s Death Drop.
What sort of specific art styles or artists are you inspired by?
I think it’s strange to say as a theatre producer, but I have a huge soft spot for jazz rap and poetry so I want to give an honourable mention to Nina Simone, Louis and Ella, Sam Cooke, Riz MC, Tupac, Kendrick Lamar, James Baldwin, Rupi Kaur, Maya Angelou and a hundred others.
In terms of my theatre inspirations though I am honoured to know and be consistently inspired by Aria Entertainment’s Katy Lipson as well as TuckShop’s Chris Clegg and writer Matilda Ibini. Sonia Friedman and Nica Burns are absolutely amazing, director Nadia Latif is also a huge inspiration to me and a big part of seeing myself in theatre. Tinuke Craig, Marianne Elliot, Arinzé Kene, Inua Ellams, Michaela Coel – honestly, this list could go on forever…
Tell us about one piece of work you are not proud of, and what did you learn from it?
I’m lucky enough to say I don’t have an answer to this.
What is your best self- care technique?
A bucket of tea, pyjamas, a 1000 piece puzzle, a scented candle and salted popcorn on a Sunday night whenever I can. Or a good book and a good bath.
If you were on a desert island and could only take one piece of creative material to help you with your work what would you take and why?
I hate to be such a producer cliché here but a laptop equipped with Excel. I live for my spreadsheets and they make my job so much easier.
How do you seek out opportunities?
Usually, people bring work to me but sometimes I seek out work on different musical platforms like Drama Desk or strangely; Twitter.
What does support mean to you?
Beyond financial, the best support includes logic. I think it’s important to have supporters, mentors and coaches who aren’t afraid to be realistic with you but who are careful in that realism.
If you could change one aspect of our society through your work, what would it be and why?
A big feature of my work is wanting to diversify commercial theatre further both on and backstage. There’s this phrase about representation that says, ‘you can’t be what you can’t see’, I want to make sure that the next little black girl looking up at the stage, in the programme or on the internet can find role models that look like her working in the job she wants to do.
What are two useful pieces of advice that you have received from people?
Try for everything, the only thing you definitely won’t get is the thing you don’t apply for.
“Life should be more like a piece of music and you’re supposed to be dancing” This is actually a Derren Brown quote but it is the thing that reminds me to remember why I do what I do and to make the most of the time I have with the people I am lucky enough to be surrounded by.
What are the next steps with your work that you are looking to take?
I want to work on more musicals and concentrate my work on the commercial theatre sector, particularly in diversifying the work on and behind those larger stages. I want to continue working on and Off-West End as well as touring some mid-scale productions.
What are some platforms that creative’s and freelancers should be using right now and why?
I know a lot of people aren’t, but I am a big fan of Twitter and Instagram. I think if you end up in the right places you get some really beautiful artwork and poetry.