Joe’s remarkable career in theatre began in Bristol, working on both the stage and electrics crews. He often spoke of the profound impression left on him watching Margot Fonteyn perform from the wings—an early experience that shaped his lifelong love for live performance. A year at the Bristol Old Vic School led to work at the historic Theatre Royal, where he encountered traditional wooden stage machinery and discovered what would become a lifelong passion for theatre archaeology.

From Bristol, Joe moved to the West End, where he expanded his credits to include Property Master, and in 1964, joined the National Theatre during its inaugural Chichester season under Laurence Olivier. His technical and creative versatility soon led to production management work at the Theatre Royal E15, combining roles in lighting design and overall production—a balance he later admitted wasn’t always ideal for family life, but deeply fulfilling nonetheless.

Joe was later invited back to the National Theatre to oversee technical management of its touring programme, a role that took him as far west as Los Angeles and east to Belgrade. He was subsequently appointed to lead new productions, collaborating directly with some of the finest directors and designers of the time, including Olivier himself.

In pursuit of new challenges, Joe accepted an invitation to join the Institute of Contemporary Arts (ICA) as Gallery Manager, later becoming Director. His tenure there involved not only producing innovative programmes and managing unique artistic personalities, but also successfully tackling a significant financial deficit—reducing it by nearly £750,000 before his departure.

At the age of 40, Joe transitioned again—this time into large-scale project and production management, before finding what would become a lasting vocation in education. A committed and inspiring teacher, he eventually joined the faculty at Central School, where he brought his wealth of experience into the classroom. He relished being back in production work and valued the opportunity to reconnect with the collaborative nature of live theatre. It also, he noted with typical humour, allowed him to play more cricket and enjoy a proper summer break.

In later years, Joe continued to lecture part-time and remained a tireless champion for technical training. As Secretary of the Arts & Entertainment Technical Training Initiative (AETTI), he helped develop short-course BTEC Awards, which he believed offered the most practical and cost-effective training route for working technicians. His commitment to education and standards in the industry never wavered.

A dedicated member of the ABTT, Joe chaired the Archaeology Committee—now the Theatre Research Committee—for many years, offering guidance, insight, and inspiration to colleagues across the sector.

Joe’s funeral will be held at 11:30am on Monday 10th November at Trent Valley Crematorium, Derby Road, Aston on Trent, Derby DE72 2AF. All are welcome to attend and celebrate the life of a much-loved colleague, mentor, and friend.

The ABTT extends our heartfelt condolences to Joe’s family and friends at this time. His contributions to British theatre—both on and off stage—have left an indelible legacy.