Weekly online catch up for creatives

Creatives, here’s a great opportunity to join Relish Theatre each Friday for industry chats, script support, fundraising guidance and much more at their online coffee mornings. Giving and receiving help and advice in a friendly and supportive environment sounds just what creatives need right now. And it’s all free!

Coffee and a Creative Catch-Up – what could be better? Get signed up!

Happening every Friday from 10am-11am, until 10th December.

You can find out more here


Around the World in theatres, anyone?

Where is this? Yes, it’s the Royal Opera House, but it’s not Covent Garden. Got it yet? Maybe not – because this Royal Opera House is in Mumbai!

Enjoy an online afternoon treat coming up on Thursday 25th November at 4pm UK time, as Terry Davis, Archivist of the Frank Matcham Society, gives a free online Zoom talk about his globe-trotting theatre experiences, assisted by technical whiz Richard Norman.

Terry’s theatre travels have, over many years, taken him right around the Globe. His talk with illustrations brings about a dozen examples of differing venues with many surprises, some even hilarious. His photo collection, aided by some movies, certainly shows that going to the theatre in distant countries offers a very different cultural experience to what we are accustomed to in the UK. Returning home, his closing surprise is to show us an opera house discovery situated in the Midlands that is loosely modelled on Glyndebourne.

Book your free tickets to this theatrical treat via TicketSource here


Dudley Council celebrates LoveTheatreDay by voting to demolish its only professional theatre

Dudley Hippodrome interior

17th November was “Love Theatre Day” around the world, and huge numbers of theatres, theatre owners, creatives and local authorities took to social media to celebrate their creative community hubs and the pleasure, stimulation and community cohesion they bring.

Everywhere in the world was out celebrating these jewels in their communities.

All, that is, except Dudley.

This was the day when the hopelessly out of touch Dudley Council’s planning committee met to nod through the application for demolition of their only remaining professional theatre in the area. The destruction of a community-owned building sitting in a Conservation Area on land gifted to the people of Dudley. In one vote the Council members took the assets of the community away and voted to destroy them.

In a meeting described by one attendee as “an unmitigated shambles”, committee members wandered back and forth, engaging in side discussions, rarely giving any speakers or objector their full attention. Tom Clarke of the Theatres Trust had kindly agreed to step up and speak for the Dudley Hippodrome Development Trust, the passionate and committed Hippodrome supporters group which is trying to retain, refurbish and reopen this vital community resource, only to be ignored by substantial numbers of those of the committee present.

Worse still, the owner of the adjacent business, Mr Gurminder Singh, which has been running successfully as a function hall, was given no opportunity to speak to save his business into which he has poured his family’s investment and his own life savings into,. This is Council dealings at their shabbiest.

The outcome of the decision is far from unexpected. Only one councillor voted against the demolition, and for that we thank her (I cannot find her name at present but will update when I find it).

The decision now goes to Michael Gove (!?!) for oversight, so we won’t hold our breath on that one…

But the fight is far from over, and the supporters now regroup to consider their next moves. As Sue Bolton, one of the leading lights of the campaign to save the theatre, said, “It’s not over until the lady sings”

Theatres Trust later said: “We are extremely disappointed in the decision by Dudley Council to give planning permission for the demolition of Dudley Hippodrome. A wasted opportunity to reimagine a heritage asset as a catalyst for growth.”

You can read the Theatres Trust’s full statement here

Here is the Dudley Hippodrome Development Trust’s full report about how the meeting was conducted:

“Because of poor acoustics and poor microphones, we are unsure who presented the council’s application to demolish the theatre. After reading out from the documents for quite a while he then referred to an animated “fly through” video on screen, which did not work. After several failed attempts to get it to work, our one and only permitted objector was called up to speak while further attempts were made.

While the objector, Tom Clarke, the National Planning Adviser from Theatres Trust, who had travelled up from London was speaking to the committee, someone got up and walked directly across the room, distracting Mr Clarke, to speak to the tech guy. There was chatting on the top table and then another councillor got up to join the conversation with the tech guy! It was clear committee members had not read the documentation beforehand as they were reading it rather than listening. We were appalled at that moment.

Following this, DMBC not only got its planning agent to speak, but then got another further chance (at length) to recommend demolition! Our objector had just 3 minutes. A second objector, Mr G. Singh, whose livelihood has been ruined by Metro works and a probable CPO was not permitted to speak despite several requests to allow him to, as an exception. Other councils allow up to 15 speakers.

It was obvious to the observers from the start that the decision had been made before the meeting as not one objection was even mentioned, discussed or argued, particularly regarding the National Planning Policy Framework.

Dudley Council was seeking its own planning permission to demolish a heritage asset, which it owns, to be replaced by something that Dudley council proposes, without proper consultation with the electorate.

There were numerous quality robust objections from Theatres Trust, The C20 Society, Historic Buildings and Places, Save Britain’s Heritage and even the Art Deco Society UK. There were even strong objections from David Ward, The Earl of Dudley, Leander Ward, heir to the title and Tracy Ward, the Duchess of Beaufort.

Our opinion is that DMBC presented false information and photoshopped images to persuade councillors, who were clearly unable to get to Castle Hill and A461 Birmingham Road to see how visible the Castle is from that direction. The image of the new building appeared shrunk and the views presented as if a vistor would arrive on the top of a double decker bus.

The whole case was treated like it was an application for an extension. There should be no need to present false images if the project is worth doing.

Historic England have admitted that their analysis of the scheme had been concluded from information provided, yet the council ‘padded’ this out to about 20 pages from an initial A4 size appraisal, without Historic England visiting the site or looking inside either building.

Are you shocked ??

You decide……….”

I know what I think. How about You?


Writers! – the ETPEP Award is now open!

The ETPEP Award 2022 is open!

What the heck is ETPEP you may rightly ask. Well, it stands for The Experienced Theatre Practitioners Early Playwriting Award.

It is run by the Finborough Theatre in association with the Experienced Theatre Practitioners Early Playwriting Trust (ETPEP).

If you have worked in theatre for 2+ years, live in the UK & have never had a play you’ve written professionally produced, you could win £8,000 & a developed reading of your play at the Finborough Theatre.

The ETPEP Award’s purpose is to find and nurture a playwright who has worked in theatre for two years or more (but not in a literary department setting or as a paid script reader), who is looking to further their ambitions and skill in the art and craft of playwriting.

The ETPEP Award 2022 is open to UK residents of any age who have not had a play professionally produced, and who have worked front of house, in administrative roles, on stage, backstage, lighting, design etc. or in a creative capacity in theatre for at least two years, either now or in the past.

The award is intended to target and encourage those who are currently working or have worked in theatre but who are new to playwriting, and therefore, the Award is not open to those who have worked in any capacity in a literary department, a literary agency, theatre critics, or those who ever have undertaken paid script reading work.

There will be ten runner-up prizes of £400 each.

The judges for the 2022 Award will include Artistic Director of the Finborough Theatre and playwright Neil McPherson; Literary Manager of the Finborough Theatre and playwright Sue Healy; producer Ameena Hamid; actor, playwright and activist Athena Stevens; and Clive Webster of the Experienced Theatre Practitioners Early Playwriting Trust, which founded the award.

Before entering you should study the full submission guidelines, which can be seen via the link below. Closing date for applications is Saturday 30th April 2022.

Find out full information and application details here


Performing Arts Journal issues call for submissions

SINAIS DE CENA is a performing arts journal which has issued a call for submissions relating to the theme “Migrant Theatre- Practices of/for resistance and resilience”.

The past decade saw a wealth of migrant theatre and refugee performance initiatives from across Europe, addressing issues of displacement, identity and belonging, social inequalities and legacies of colonialism. Migrant artists and ensembles are at the forefront of decolonising dominant aesthetics, institutional practices, structures and canons – asking us to critically (re)examine our own positions and privileges, to resist established power (in)balances and hierarchies.

The journal says:”This Thematic Dossier of Sinais de Cena invites article submissions that reflect on the artistic practices, activism and collective actions fostered by migrant theatre initiatives after the so called European ‘refugee crisis’ in 2015.

We seek articles that examine artistic and institutional trajectories created by migrant theatre-makers and ensembles to rethink host-guest relations and the social-cultural asymmetries especially in the light of the Black Lives Matter movement and the COVID-19 pandemic.

How do migrant artists and collectives create or reconfigure spaces for resistance and resilience? What are the artistic and institutional means to address marginalisation and promote an inclusive change on and off stage? What is the role of theatre and performance in nurturing collective recognition and solidarity?

Topics may include, but are not limited to:

Aesthetics forged through (political) activism
Artistic and institutional practices and positions of/on inclusivity and diversity
Performances of belonging and non-belonging
Theatre-making and migrant rights
Migrant theatre and protest
Cultural participation and the position of migrant artists
Migrant theatre and shifts in cultural structures and canons”

Find more details and submission guidelines here