Q&A with Board Director Claudia Chidiac
As a Board Director of Monkey Baa since September 2024, Claudia Chidiac brings a deep belief in the power of theatre to reflect, challenge and inspire young audiences. In this conversation, she shares what continues to impress her about the company’s work, why children deserve access to the very best theatre and how her own childhood experience on stage shaped her path as an artist.
Looking back on your experience at Monkey Baa, which moment impressed you most?
There isn’t one singular moment. What impresses me most is the company’s overall approach, its deep commitment to telling stories that genuinely reflect the diversity of the children and young people sitting in the audience.
There is a clear intention to find narratives that resonate across cultures, identities and lived experiences. That desire, to ensure children see themselves and others truthfully represented, is what continues to impress me.
Why do you believe theatre for children and young audiences is so important?
In theatre, emotions are not dismissed or rushed. They’re explored. They’re held collectively. Children can see big feelings unfold safely in front of them, and they learn that those feelings are not only valid but shared.
Fundamentally, access to high-quality art is not a luxury for children. It is their right. Young people deserve the very best theatre.
From your perspective, what makes Monkey Baa’s work distinctive within the sector?
Monkey Baa has a remarkable ability to take beloved literary works and transform them into high-quality, emotionally resonant and accessible productions. What also distinguishes the company is its commitment to honouring the voices of the very audience it serves. Children are not passive recipients in Monkey Baa’s process. Their insights, responses and intelligence are taken seriously during development. That kind of dialogue between maker and audience is distinctive, particularly within a mainstream theatre context.
As a Board Director, what aspects of your role are the most compelling for you?
As a Board Director, I’m part of ensuring the company’s values remain intact while supporting its evolution. I care deeply about sustaining artistic integrity, enabling risk where it matters and protecting the organisation so it can continue to serve children meaningfully. There’s something powerful about contributing to the invisible architecture that allows extraordinary work to happen.
What excites you most about Monkey Baa’s future?
We are operating in a challenging climate for the arts. Funding pressures, shifting audiences and economic strain are real. And yet Monkey Baa persists with conviction. There is a determination to keep fighting for children’s access to meaningful theatre. Because of that resilience, the future feels possible, and that possibility is exciting.
Could you share a memorable theatre experience from your own childhood?
My very first theatre experience was being cast as Valjoy in my Year 6 school play, Hating Alison Ashley. I remember rehearsing my lines over and over. I remember wearing a costume I thought might get me into trouble. But most of all, I remember the feeling of embodying a character so different from my 12-year-old self. It was amazing.
That was the moment I realised what theatre could do. It could let you step outside yourself and discover something bigger. It was also the moment I decided I would become an artist.
