Jasmin Skeete is a London-based theatre director, playwright, educator, and founder of the Women in Theatre Network. The network is an inclusive community space and mentoring initiative dedicated to empowering, connecting, and amplifying women and non-binary people in the theatre industry. I asked Jasmin to tell me more about this important and inspiring work.
What inspired you to start the Women in Theatre Network?
It actually started with a series on LinkedIn. I’d been featured in someone else’s campaign called Women Crushing It Wednesdays, where they were spotlighting women doing amazing things across different industries. I remember thinking, “I’d love to do something like that for theatre.”
At the time, I was beginning to pivot more into the industry myself, and I realised we don’t always hear about the incredible work women are doing behind the scenes. I also wanted to inspire people coming into theatre. I’ve always worked with young people, and I know how overwhelming this industry can feel when you’re starting out – or even if you’re changing careers.
The interviews grew organically, but I realised a lot of the people I wanted to reach weren’t on LinkedIn, so I started an Instagram page. From there, the Women in Theatre Network really took on a life of its own. More recently, I’ve added a mentoring programme that matches established industry professionals with people seeking support and guidance. We’re halfway through our second round now, and it’s been a real privilege to see those relationships develop.
What’s your own background in theatre?
Theatre has been part of my life since I was a teenager. I went to theatre school, then studied dance before completing a degree in Theatre Arts. I originally wanted to be a performer, but during my training my confidence took quite a knock. Looking back, I realised performing probably wasn’t the path for me.
I’ve always loved creating work and helping other people tell stories. I went into teaching and spent nine years teaching drama and dance, directing productions and choreographing shows. That was the part of the job I absolutely loved.
Towards the end of my teaching career, I started writing and directing my own work. I put on my own play, and took part in scratch nights at Croydon Fringe, which reminded me how alive directing made me feel. Last year I made what felt like a very brave decision to leave full-time teaching and back myself.
One of the biggest lessons I’ve learned is the importance of connecting with people. Networking really does matter. Building relationships has opened doors for me, and I hope the network helps do the same for other people.
Who is the network for?
Everyone across the theatre industry. Of course we all know about actors, directors, writers and producers, but there are so many other brilliant careers that don’t always get the spotlight. I want to celebrate the whole industry and the women—and non-binary people—doing incredible work within it.
Creating an inclusive space is really important to me. I want trans women and non-binary people to feel welcome too. Broadening the representation within the community is something I am actively working on.
Representation is something you talk about a lot. Why is it so important?
Growing up, I didn’t see many people who looked like me working in theatre. Things are improving – there’s more work being created by Global Majority artists and more diverse stories being told – but there’s still a long way to go.
Representation really matters. If you can’t see someone like yourself doing something, it’s much harder to believe that it’s possible for you. That’s one of the reasons I love highlighting people’s stories.
You mentioned career changers. Is that an important part of the network too?
Definitely. I actually think of myself as a career changer, even though I’ve always had one foot in theatre through my work with young people.
One thing I’ve noticed is that so many opportunities are aimed at people under 30. Once you’re over that age, it can feel like the door starts to close. But people coming into theatre later in life bring so much experience and such valuable perspectives. We shouldn’t overlook that.
Tell us about the mentoring programme.
That came about because I realised not everyone feels comfortable messaging someone on LinkedIn or asking for a coffee. I was quite happy doing that, but I know it can feel intimidating.
The programme matches mentors and mentees for a one-hour conversation. Most of the mentors are women I’ve interviewed through the network, and they’ve all been incredibly generous with their time.
The response has been amazing. People leave those conversations feeling encouraged, inspired, and much clearer about their next steps. Even the mentors tell me how rewarding they find it. One recently said it goes a long way towards making the theatre community a more supportive environment for emerging artists.
What’s next for the Women in Theatre Network?
At the moment it’s completely volunteer-led because I genuinely love doing it, but I’m starting to think about what it could become in the future whether that’s through funding or a more formal structure.
I’d love to expand the support we offer, particularly for young people who aren’t currently in education, employment or training. I also want to bring people together in person. I’m planning our first live event, which will include a panel discussion followed by an opportunity for people to meet and chat.
Ultimately, that’s what the Women in Theatre Network is all about: opening doors, making connections, and helping people feel that they belong in this industry.