Maggie began life as a contemporary dancer, taught dance, became an ILEA dance adviser, a Head of Department in a large comprehensive school, became a Director at the Arts Council of England, Director at the Millennium Dome and is currently a Civil Service Commissioner and CEO and Director of The Experience Corps Ltd.

Maggie serves, in a voluntary capacity on a number of charities including Arts Education, Brit School, Rambert Dance Trust, Sadler's Wells Trust and Roundhouse Trust as well as Chairman of the Science Museum Dana Centre and Trustee of NMSI and Chairman of NRDC, a research centre at the Institute of Education.

Commenting on her appointment, Maggie said "Young people and the arts have been central to all that I do and I was delighted to become Chairman of NYMT in 2001. NYMT is important to me because providing opportunities for talented young people to participate in music theatre of the highest quality is a wonderful way for them to realise their dreams. Every time I see one of our workshops or productions I marvel at the creativity both on and off stage and of the talent we have in the UK".

Alan Williams was a director of the Company for nearly ten years. He is a solicitor working originally as a partner at Denton Hall and now a Consultant at DLA Piper. He specialises in media work, specifically IP issues such as copyright and passing off, but also defamation and commercial matters. He was involved, through his wife, Lyn who was working with Sam Wanamaker, in helping to raise money for, and the opening of, the Globe Theatre on Bankside.

Trained at Bristol University and the American Musical and Dramatic Academy, New York.

As a director credits include: The Rape of Lucretia (RCM), La Fanciulla Del West (Opera Holland Park), Le Toreador (Batignano Opera Festival), The Palace in The Sky (English National Opera), Bugsy Malone (West End), About Face (Linbury Studio, Royal Opera House), Charlie Lavender (Southwark Playhouse) Secondhand Dreams (Stephen Joseph Theatre, Scarborough) Henry VI part iii (Birmingham), Control Freaks (BAC), The Wizard of Oz (Bath Theatre Royal), Elements, Head II Head, Midnight's Children (English National Opera – Contemporary Opera Studio).

As an associate and staff director Jo has worked with many distinguished directors. With Adrian Noble she developed the first stage production of Chitty Chitty Bang Bang in the West End and on Broadway. Also in the West End she worked with Deborah Warner and Fiona Shaw on their award winning production of Medea, which she later took to New York. At the National Theatre Jo worked with Alan Ayckbourn, developing his play that ran consecutively in two theatres at one time – House and Garden; and with Nicholas Hytner on The Winter’s Tale.

Jo has also worked many times for The Royal Opera House, The Royal Shakespeare Company, The English National Opera, Opera North, and Bristol Old Vic.

For film Jo worked as an associate to director Phyllida Lloyd on Gloriana and as a librettist Jo wrote Jack and Jill, a short new opera commissioned by the ENO Contemporary Opera Studio and Tete a tete which went on tour throughout the uk.

Next, Jo directs the UK tour of Chitty Chitty Bang Bang and A Night at The Chinese Opera, a contemporary opera by Judith Weir at the Royal Academy of Music.

Paul Findlay comes originally from New Zealand but has lived in North London since the early 50s. A passion for the performing arts took him to Covent Garden for twenty five years; while there he created the Opera House’s Education Department, the first of its kind anywhere and developed jointly with Sadler’s Wells Theatre the formal link with NYMT under the inspirational leadership of Jeremy James Taylor.

Much of Paul’s work at the Royal Opera House was focussed on audience building and particularly the early introduction of opera and ballet to young children from all over the country supported by workshops and opportunities to participate and develop their own music theatre realisations.

In 1993 Paul moved to the Royal Philharmonic Orchestra where once again he developed and expanded significantly the work of the orchestra with young people. Subsequently in the 90s he became General Manager of the Mariinsky Theatre in Russia and also was a co founder of the innovative Global Music Network which led the way worldwide in bringing classical music to its public through the Internet

Paul is currently a Director of Arts Education London and the Welsh National Opera having also served on the Board of English Touring Opera for 17 years.

An Oxford graduate, Denys ran English and Drama departments in day and boarding secondary schools in both the public and independent sector. He produced and directed a wide range of shows, many of them musicals, for schools and voluntary groups. From his teens he has had a parallel life in politics, both as a Parliamentary candidate and policy adviser on education. Since 1998 he has worked in Parliament as a political adviser and for the last six years has also advised London Assembly members at City Hall with a brief covering transport, equalities and youth issues. He is Chair of Trustees of EACH, a charity working with young people. With NYMT he was a committee member of the Friends for several years. He is currently a member of the Noel Coward Society.

Born in 1949 in South London and brought up on a musical diet of American and British musicals. Earliest ambitions were to be an actor but having started to learn the violin at the relatively late age of 12 quickly acquired a taste for classical music, particularly opera. Following a four-year period at Trinity College of Music, London studying violin and piano he joined the theatrical music publisher, Josef Weinberger Ltd, in 1972, which, with its rich catalogues of music-theatre works, proved to be
the ideal working environment.

Having worked in most departments in the company, he was appointed Director and Company Secretary in January 1986, Managing Director in September 1998 and Chairman of the Weinberger group of companies in 2005.

He has served on the Classical Publishers Committee of the Music Publishers' Association since 1980 and was its Chairman for three years from 2000 as well as being on the Board of the MPA since 1998. He has also been active on numerous sub-committees and working groups of the MPA, Mechanical Copyright Protection Society and the Performing Right Society.

Connections with the NYMT go back to its beginnings as the Children's Music Theatre Group when the Ballad of Salomon Pavey was first being performed. Josef Weinberger publish many of the works written for the NYMT and is one of the NYMT's staunchest supporters. The importance of the organization to us as a company cannot be overestimated. Numerous performers on the British stage received their first training and inspiration as members of NYMT. The company is also a source of aspiration for young people interested in music theatre. The study and performance of music theatre in music education should be encouraged not just for its entertainment value but the interactive social skills it teaches children which are vital for their successful integration into society."

Alison has worked for many years as a commercial director, who specialises in change leadership and business turnaround. Much of her experience has been with the Royal Mail Group, where she qualified as an accountant and MBA, and led international operations, and mergers and acquisitions, eventually leading the Consumer and Small Business, with revenues of c. £3bn. Since leaving Royal Mail, Alison has worked in the health sector, and in skills and business support, culminating in her current appointment as Chief Executive of Business Link for London, which provides support services to over 110,000 small businesses, on behalf of the Mayor of London.

Alison has maintained a strong interest in the synergies between business and the arts throughout her career, and brings a strong combination of business, finance and corporate governance skills to her role as a Director of the National Youth Music Theatre