Bianca Rey supports both the CEO and Festival Director of one of Australia’s most beloved arts events. She tells Executive PA about precision in a creative world, managing two very different executives – and the moment each festival finally clicks into place.
Q: Tell us a little about yourself.
A: My name is Bianca Rey. I’m originally from Brazil but I’ve been living in Sydney for the last 14 years. Outside work, get me away from the keyboard and screen – anything involving nature, music and live events.
Q: How did you become an executive assistant?
A: This is actually my first EA role. My career history is pretty much office management across many different industries – manufacturing, marketing, architecture, accounting, construction.
When this role came up at Sydney Festival, I applied without expecting to get it. But I’d previously volunteered at the festival, and I think the combination of that experience and my transferable skills got me through the door. I got the job and here I am.
Q: What’s the most different thing about working in a creative organisation compared to your previous roles?
A: The culture. I feel it’s more supportive here. I’m surrounded by people who have so much knowledge and are genuinely willing to share it, and support one another. That’s been really meaningful for me.
Q: What do you handle behind the scenes that might surprise people?
A: A big part of my role is acting as gatekeeper for the diaries. If the CEO and Festival Director have back-to-back meetings, I’ll stick my head in the door: “your next meeting is now,” “your guest is here.” It sounds straightforward but it keeps everything moving.
I also act as a sounding board – checking in with them and with myself. Such a large part of this job is an exchange of trust between me and the executives I support.
Q: How do you manage precision in such a creative environment?
A: Precision is just how I’m wired. I’m organised by nature – at home, growing up, always. If I see things not matching or out of place, my brain feels like it will derail.
But I also have a creative side. My father is a drummer, my sister is an artist. I’m not an artist myself but I appreciate and enjoy the arts deeply.
I try to make sure the life of whoever I’m supporting (whether that’s an artist, the Festival Director or the CEO) is really well organised for them.
Q: What is it like managing two executives with very different styles?
A: They have the same outcomes but very different personalities and their schedules move at different paces. Last week something dropped on my desk for the CEO that was going to take the whole morning. I had to lock myself in a meeting room to tackle it, and when the Festival Director messaged me I was upfront – let me get through the first part of this and then I’ll progress with yours.
It all comes down to communication. That might be the most important and unique thing about my role. You just can’t plan your day. Something is always going to come up.
Q: When does the festival click into place for you?
A: January, when I finally meet the artists in person. Throughout the year I’m connected to everything via email. I feel like I’m on the Festival Director’s shoulder as he scopes and travels and meets with artists.
But when January comes and I can put a face to a name, it clicks. Artists often say “Bianca, thanks for facilitating everything behind the scenes.” That’s the moment for me.
Q: Describe Sydney Festival in one word during peak season.
A: Dreamy chaos. It’s a fever dream, but a dreamy one, because working with an arts organisation is my dream.
There are ups and downs, moments where you’re rushing and moments to breathe and laugh. Then you close your eyes and it’s already halfway through. You launched what feels like two weeks ago, there was this euphoric moment and now it’s nearly done.
When it finishes and everyone comes together and says “another one done,” that feeling is something else.
Q: What advice would you give to an EA working in the arts?
A: Stay positive and stay open. There’s so much that can derail your day and your week. You can plan everything and by Friday you’ve ticked off two things. I remind myself that I can only do what I can do.
Beyond that, be open to people at every level. My role has me dealing with the CEO and Festival Director but also board directors, donors, artists, volunteers and customers. I want to learn everyone’s name and know a little about them. That openness (to people, to change, to the unexpected) is what makes this role work.
Q: What’s an unforgettable festival moment?
A: When I was still a volunteer, I saw a performance at Carriageworks called Aquasonic – a Dutch company that built instruments and placed them inside five massive water tanks, with musicians performing submerged in the dark. It was eerie and extraordinary.
But since joining the team, Symphony Under the Stars stands out. It’s a free event, and you get people experiencing classical music who might never have sought it out otherwise. I love that. You don’t need to be an expert in classical music. You just need to sit down with your friends and family and let it wash over you.
