The Creative Enterprise Development Office (CEDO) is a bespoke service for the RCS community, offering one-to-one creative clinics, workshops and funding as well as opportunities to develop careers, projects or business ideas.

Creative practitioners often face unique challenges and opportunities in their careers, and CEDO can offer industry-specific knowledge and expertise, tailored guidance, and skills development.

Here, we turn the CEDO spotlight on collaborative pianist Rhionna Inwood and theatremaker Chelsea Grace who share their thoughts on taking charge of your career, setting clear goals and priorities, and making the most of the support offers available through CEDO.

Tell us about yourselves – what are your creative backgrounds?

Rhionna Inwood: I graduated with a BA (Hons) in Musical Studies in July 2024. I originally joined RCS on the BEd Music course, driven by my belief in music as a force for healing and community connection.

But over time, I realised I was drawn more to freelance work – where I could combine artistic performance with community engagement on my own terms.

When I transitioned to the BA, everything started to click. I embraced a creative pathway that included classical improvisation, jazz keyboard, ballet accompaniment, and keyboard harmonisation.

After graduating, I returned to RCS through Continuing Education alongside my freelancing, studying under Nicholas Ashton to refine my technical foundation and deepen my collaborative experience.

The skills I sharpened through these courses and through studying voice as a second instrument, I now use daily as a professional répétiteur, accompanist, and GM specialist with Big Noise.

Chelsea Grace: I’m due to graduate this month from the MFA Acting: Classical and Contemporary Text programme. I also work in the Short Courses department at RCS.

My creative background spans acting and writing, and I’m passionate about creating new work that feels urgent and emotionally resonant.

I’m particularly interested in stories that explore socio-political themes with bold, imaginative storytelling.

How did you first find out about CEDO? What motivated you to use the service?

RI: I first learned about CEDO through an RCS email about clinics. At the time, I was struggling with self-doubt, time management, and the pressure of trying to juggle work and studies.

Although I had clear goals, I didn’t always know how to reach them. I booked a session with Rachael Arnold – and it turned out to be one of the most valuable steps I took during my time at RCS.

CG: I discovered CEDO through the RCS website while researching support for graduates and independent theatre-makers. It seemed like a brilliant resource for those wanting to take their creative ideas further and build something sustainable.

Fellow student Elizabeth Robbins and I had created a play, Perfect Dead Girls, as part of our MFA, and we wanted to ensure it had a life beyond the module. Alongside this, we aimed to launch our own theatre company to generate work for ourselves and others.

We’ve found limited opportunities in the industry and wanted to take proactive, positive steps to create space for new, bold work.

What kinds of support have you received from CEDO?

RI: Mainly one-to-one sessions with Rachael. We worked on scheduling, how to prioritise freelance commitments, negotiate hours and fees, and communicate professionally.

The support fostered my entrepreneurial spirit while also helping me set professional boundaries and the long-term planning required of a freelancer facing uncertainty and periods of extreme busyness.

CG: We too attended a 1:1 clinic with Rachael, which was incredibly helpful and informative. We also received the Ideas Fund to support Perfect Dead Girls and the Company Creation Fund to establish our new theatre company, Audaciously Tenacious Theatre.

Each form of support came at the right time in our journey and helped us take the next steps with confidence.

So, it all fits together?

CG: The support offered a clear, logical progression. The Company Creation Fund allowed us to build the foundations of our company, while the Ideas Fund supported the creative work itself.

Each offer complemented the other, helping us move forward both artistically and organisationally.

The 1:1 clinic tied everything together by helping us refine our goals and purpose. It’s given us a genuine starting point as a theatre company and fuelled our confidence in our place within the industry.

CEDO’s support opened the door to conversations with other companies and venues, and we feel more empowered and validated to continue building our work and identity.

Did any of the sessions spark a memorable ‘a-ha’ moment?

RI: Not one, but many small shifts. I’ve learned to manage my time, protect my energy, and balance ambition with sustainability. That mindset has changed how I approach both my career and life.

CG: Our session with Rachael really made us reflect on why we’re doing this. It pushed us to be honest about our goals and clarified what we can offer as a company. That moment of realisation helped everything click into place. Since then, we’ve been more focused, both personally and professionally, about the direction we want to take.

Looking back, what difference has CEDO’s support made?

RI: I’ve been able to shape a multifaceted freelance career spanning classical performance, composition, creative collaboration, and inclusive music education.

Some of the projects and organisations I co-directed, collaborated with, composed music for, accompanied, or performed with recently include voice-piano duo Homesong, Kickstart Opera, Scottish Chamber Orchestra, Partickhill Community Choir, the RSNO Chorus, National Youth Pipe Band of Scotland, Yoga&Piano, the Africa Music School Community Music Programme, Big Noise Wester Hailes, and the Benedetti Foundation.

Managing a career that spans so many areas requires structure and clear priorities – skills I’ve developed through Rachael’s clinic sessions. Her guidance helped me build confidence, create sustainable systems, and learn how to navigate the logistical and emotional demands of freelance life.

CG: The support allowed Perfect Dead Girls to find its full form – a piece that explores trauma, girlhood, and the pressure to be ‘perfect’ with nuance, dark humour, and heart. The opportunity to take the show to the Edinburgh Fringe this year was especially significant.

The Fringe is an intense, competitive space, and being able to showcase a story like this – one that champions female-presenting voices and interrogates societal expectations – felt radical and necessary.

Perfect Dead Girls is exactly the kind of bold, emotionally charged, conversation-starting theatre that thrives at the Fringe, where audiences actively seek work that challenges, provokes, and connects.

The support from CEDO ensured that the show reached the stage without compromising its vision, and the audience response confirmed how vital this kind of storytelling is.

Lastly, what do you think others could learn from your story?

CG: Make the most of the support RCS offers, and don’t be afraid to ask for help. We both had a tendency to try to do everything on our own, but this process showed us how important collaboration and community can be.

Learning to reach out and work with others has been one of the most valuable lessons, and we encourage others to do the same.

 RI: There’s no single ‘right’ path to success in this industry. With determination, trust in your instincts, and the right support, you can build a meaningful and fulfilling career – even if your journey doesn’t look conventional.

Follow Rhionna on Instagram: @rhionna_piano

Follow Chealsea and Elizabeth on Instagram: @AudaciouslyTenaciousTheatre

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