In the not-for-profit world, I never felt that being female was an impediment. I was, however, given my break into commercial theatre by a female producer, Judy Craymer, and women - in particular, Donna Langley, president of production at Universal - were crucial in giving 'Mamma Mia' a home in Hollywood.

There's something about doing Shakespeare with a single gender, whether it is all-male or all-female, that opens up certain possibilities. You are able to throw the behavior of the men into a particular relief and be playful within a slightly larger-than-life way with it.

I think Margaret Thatcher was a superstar in this country, and I think we all felt we needed a superstar to play her, somebody of huge intelligence, passion, and power and warmth.

In management terms, directing opera certainly prepares you for a film set: the magnitude of it, the experts in other fields that you have to call on. Both are massive ensemble jobs in which there's incredible pressure to get things done on time and on budget - so much so that making the wrong decision may be better than making no decision at all.

I had a job lined up as an assistant brand manager at Playtex, at age 23, all lined up. But my father had an offer to be acquired by DDB in 1978. He said, 'I'd really like you to come into the business for a year.'

Once we decided not to get pregnant, I snapped back into work mode, and now I have just been really enjoying my career.

My advice to organizations I work with is always to be proactive rather than simply reactive when it comes to human rights issues. After all, the important process of improving company policies and practices must be carried out without having to be prompted by a labour strike, factory collapse or other crisis.

My career choice has largely been what I wanted to do. I always knew that technology would be one of the threads.