Professional debut at the age of twenty-three. I joined the production without a single rehearsal call after preparing the entire book on my own, and travelled from Mallorca for every performance. The chair asked me to move between the pit and the stage on the same night — two very different rooms, one score.

From the first rehearsal to the last night of the tour. Approximately five hundred performances under the musical supervision of Simon Lee, in a score that treats the guitar as the beating heart of the ensemble. The chair I was raised on.

One of the most demanding orchestral books I have ever prepared as a cover. Idiom shifts arrive without warning and every section switch has to land clean the first time it is read in the room.

The first production I took on purely for the love of the show. Depending on the venue the guitar lived on stage with the cast or in the pit with the band — the arrangement was written to survive both, and so was the player.

A workshop staging with the band placed inside the world of the play. The guitar was written as a character, not as accompaniment, and the chair sat in the eye-line of the actors throughout.

A concert built around the leading male voices of Spanish musical theatre. The band was small; the responsibility was not. Repertoire moved between rock, pop, ballad and full theatre — often within the same number.

Approximately one hundred and fifty performances of a score that lives at the border of rock band and pit orchestra. High-gain textures, tight cues, and a cast that plays the comedy at the tempo the band sets.

Personally recruited by Musical Director Xavier Torras for the final Madrid season, after five years away from the industry. A pop score played with the discipline of a theatre pit — the guitar carries the rhythmic architecture without ever pulling focus.

Return to musical theatre after nine years, in the same title that shaped the chair. This time the guitar plays on stage with the cast — the same score, a different room, and a very different distance from the audience.