LivEveryPlay AUTUMN WINTER 2015
Cultural organisations like the Everyman & Playhouse are important to the wellbeing of cities like Liverpool, not just to the wider community but they are also vital to business in many ways including making this a great place to live and in fostering creativity. John Sutcliffe, Chair of Liverpool & Sefton Chambers of Commerce
ISSUE 1
Welcome Welcome to the first edition of LivEveryPlay, which provides a glimpse into the rich life of the Everyman & Playhouse that lies behind our stages. With the exception of the wonderful Odyssey - which has just left us to fly Liverpool’s cultural flag around the country - you’ll notice a distinct lack of shows. That’s because there’s so much more to the e&P that doesn’t often make it into the spotlight.
2014 - 2015
Impact of Investment
1,649,977
£
Here, we celebrate the value of the theatres to our local community and our regional economy; showcase the extraordinary talent that we have been able to nurture into Liverpool’s vibrant theatrical community; and reveal how we develop the skills and potential of future generations. We introduce just one of the many unsung heroes who bring our artists’ vision to the stage for you. And a passionate theatregoer tells the simple and beautiful story of how he is supporting the future of theatre in our city.
grant
We hope you enjoy finding out about the lesser-known aspects of life in your theatres. And, as always, we look forward to sharing the thrill of great theatre with you very soon.
688,434
£ Gemma Bodinetz Artistic Director
Deborah Aydon Executive Director
Everyman & Playhouse centre stage on the BBC The BBC is putting theatre centre stage this November with a major season of programming celebrating Britain’s incredible theatre talent, from world-class actors to cutting-edge regional theatre. On Stage is a series of eleven documentaries filmed across the English regions to be broadcast simultaneously on BBC1 on Monday 9 November. The Everyman represents the North West and follows the journey of The Odyssey: Missing Presumed Dead from the page to stage and celebrates the theatre’s past and its future. “BBC On Stage celebrates the everyday heroism of our theatres, the diversity of the work and talent they support, and the ambition and derring-do that makes British theatre the best in the world.” Jonty Claypole, Director of Arts, BBC Catch the whole series on iPlayer and details of On Stage - The Everyman on our website.
2.
grant
Leveraging
a total turnover of £
5,754,809
All figures are gross and for the financial year 2014-2015, except * which are taken from the Audience Finder 2013-2014 audience questionnaire
AUTUMN WINTER 2015
412
e&P productions were also seen in: CORNWALL
YORK
BRISTOL
SHREWSBURY
IPSWICH
MALVERN
LEEDS
BIRMINGHAM
COLCHESTER
OXFORD
SALISBURY
NOTTINGHAM
EDINBURGH
BRIGHTON
There were 20,677 attendances at participatory sessions, including 43% as part Young Everyman Playhouse (YEP)
accessible performances including audio described, captioned, BSL interpreted and relaxed
245,720 687,000
£
for future years
Our average ticket price was
15.65
£
meaning that many of our tickets are affordable & accessible
3,159,355
£
spent on payroll, artists and creative fees, creating full or part time employment for 180 people
9 e&P productions including 5 world premières 4 by Liverpool writers
We worked with
336 actors, artists and creatives
135,496 people experienced a performance created by or promoted by e&P
1.9m
£
We purchased £ 2m worth of goods and services, of which 44% was spent in the North West
people enjoyed one of our
£
We generated in income at Box Office
3,720 22
We spent
from funds raised through philanthropic and grant giving and raised
performances across our 3 stages
3,720
of our audience were
young people
84
%
audiences strongly agreed or agreed that e&P were a ‘welcoming place for the whole community’*
Our value to the Liverpool City Region economy was
15.6m
£
(i.e. under 26) We contributed
627,532
£
back to government in tax and NI
of our audience were
young people
(i.e. under 26)
ISSUE 1
95%
15%
10,959 people visited from outside Liverpool City Region
audiences strongly agreed or agreed that e&P make a ‘positive contribution to the city’s image’ *
3.
Ignition Every now and then, someone comes along, who is clearly exceptionally talented and has the potential to do great things. Traditionally, it’s been very difficult for the Everyman & Playhouse to respond to these artists, especially if they don’t fit into a particular field such as writer, actor or director. In response to this, the theatres created a new programme to support emerging local artists called Ignition. It was made possible by donations made by the public which has created a rare and unique opportunity to respond flexibly as talent is discovered. The Talent Fund is starting to have a real impact on creating new work and supporting talented individuals. Over the last 18 months the Talent Fund has supported people such
as actor Kieran Urquhart who was recently in Scuttlers at the Royal Exchange and will soon be in Leicester Curve’s The Witches. Talent offstage has also been given the chance to flourish. Following their time at e&P as Trainee Assistant Producers, Martin Poile and Bernie Whittle have gone on to positions at Headlong and National Theatre Studio, while Michelle Grant is currently benefitting from the same opportunity. Everyman & Playhouse’s Associate Director Nick Bagnall is the man on the lookout for the unsung talents that could be ideal candidates for Ignition, taking in the work of performers of all kinds throughout the city. “It’s about seeing a spark in someone and being able to invest in that,” he says. “It is something that is really exciting to do, and something that doesn’t happen often in this industry.” The Ignition bursary gives recipients the chance to use the Everyman’s rehearsal space,
“I never thought I’d do a one-man show,” says Lewis Bray. The 25-year-old actor became one of YEP’s most recognisable successes to date with his warm and funny show Cartoonopolis, the story of his younger brother Jack and how he sees the world as a person with autism. The show, performed at the Playhouse Studio in February this year, was developed through Ignition and the Talent Fund.
Le wi sB ray in C artoo nopolis
Lewis went on to perform a segment for a selected audience at the National Theatre, and promoted the show on BBC Breakfast news.
4.
It’s about seeing a spark in someone and being able to invest in that Nick Bagnall
collaborate and network. No specific outcome is demanded – it is all about supporting creativity. Importantly, this means the fund is kept and spent locally, and by creating opportunities for performers in the city it goes a way to prevent a creative talent drain out of the North West. Nick adds: “There’s so much talent out there, and Ignition is helping to find young people who are underrepresented in the industry, those whose natural habitat isn’t a theatre - and that makes it really exciting. The great thing about this fund is there are no parameters. Regardless of background, if you’ve got talent it will be recognised and promoted.”
He hopes to perform the show again in future. Lewis had always dreamed of being a professional actor, yet was left disheartened by being unable to secure a place at drama school. It was while studying at Liverpool Community College he met YEP Director Matt Rutter and struck up a friendship that really allowed his talents to shine through. He joined YEP, performing in productions including Papertown and The Grid. But Lewis wanted to push himself out of his comfort zone, and began working with Matt on a personal project. “When I was told about the Talent Fund I was over the moon,” he says.
With Cartoonopolis I really learned on my feet. I have learned so many skills Lewis Bray
AUTUMN WINTER 2015
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After his show, with the support of Nick Bagnall, Lewis went on to play Francis Flute (and Thisbe) in the Everyman’s A Midsummer Night’s Dream, secured an agent, and is now hoping to move into TV and film work.
“My dreams and goals have all been made possible by the Everyman and the Talent Fund,” he says. “I have really found what I want to do, and now I can put myself out there as a professional.”
S ch
“They could see I had the skills to develop a one man show, and when I told them about my brother Jack, we realised that was the story I had to tell. With Cartoonopolis I really learned on my feet. I have learned so many skills.”
My dreams and goals have all been made possible by the Everyman and the Talent Fund r fo
m
music video in a ing
Raven M agu ire
pe r
Lewis Bray
Describing herself as “a performance poet, aspiring theatre maker and singer-songwriter”, Raven Maguire was working at the theatre box office when she found out about Ignition.
part in the Regional Theatre Young Directors Scheme, and had started taking part in slam poetry competitions.
It was just the opportunity the 21-year-old from Kirkdale was looking for - she had been gaining experience across the Liverpool theatre scene for a few years but was looking to take things to the next level.
After performing one of her pieces in an Everyword Platform event – a ten minute poem about Nikola Tesla and quantum physics – she was inspired to take that aspect of her artistry further. “It was just exhilarating,” she said. “After that I really stepped my game up and it gave me such confidence.”
Upon graduation from Hugh Baird College, she became involved with youth company 20 Stories High both on and off stage, took
Raven hopes to showcase her work at the Everyman with a full performance at some point next year. “This is exactly what I wanted to do – work with professionals and develop myself,” she said. “It’s just amazing. I want to leave this project as a made artist, understanding how the industry works and building a portfolio, so I can go out into the world and do whatever comes my way.”
It was this talent that came to the attention of Nick Bagnall as he was on the lookout for new Ignition Artists.
Raven Maguire
ISSUE 1
H ie s
to r 20 S
ng wi th
“So far Ignition has given me this amazing space and access to work in the Everyman rehearsal room, and the writer’s room, I have been working with Jennifer John, it’s been a proper development process and it’s been really great.”
h ig
Raven Maguire d irect i
This is exactly what I wanted to do – work with professionals and develop myself,” she said. “It’s just amazing. I want to leave this project as a made artist, understanding how the industry works and building a portfolio, so I can go out into the world and do whatever comes my way
Keen to improve and develop in all areas of performing, Raven has used some of her bursary to undergo vocal training and through the Everyman’s networks she benefitted from an introduction to Sense of Sound singer Jennifer John, who has mentored her alongside Nick.
5.
The Odyssey: Missing Presumed Dead By Simon Armitage Directed by Nick Bagnall
‌tremendous theatre. An ambitious, epic new work The Stage
An exciting show that combines the classical with the contemporary Member of the Drama Teachers Forum
6.
AUTUMN WINTER 2015
Genius‌ funny and full of surprises The Times
Students were on the edge of their seats!
Awesome adaptation of The Odyssey; humour, peril, and satire in all the right places! Congratulations to all involved
Birkenhead SixthForm
Audience member via twitter
Breath-taking and magical Audience member
A timely modern political drama... Fascinating The Guardian
ISSUE 1
7.
R
UCE D O R P E H T
Michelle Grant, 23, is a trainee Assistant Producer at the Everyman & Playhouse. She joined YEP’s Young Producers strand after graduating from John Moores University with a degree in drama. From there, she became interested in pursuing a career behind the scenes. “I wanted to go into producing but it was very hard to find a way in,” she said. “I found out about the YEP producers’ strand through friends who were already involved.”
THE DIRECTOR Sarah Van Parys graduated from YEP’s two-year Young Directors course this summer, and is currently working on a three month placement at the Everyman & Playhouse as part of the Regional Theatre Young Directors Scheme. The Odyssey: In Rehearsals for Dead d me su Missing Pre
She was one of five people taken on as a YEP Producer last year, and worked on a number of recent productions including Robin Hood, Until They Kick Us Out and The Bacchae, as well as its bi-monthly Scene Change scratch performance evenings.
THE ACTOR Keiran Urquhart has come a long way in a short time. After joining YEP’s Young Actors in time to help devise and perform in The Grid, the company’s first work for the new Everyman stage back in April 2014, he went on to quickly land his first professional job in Jeff Young’s Bright Phoenix, which premiered at the Everyman in October last year. That lead to a role in Scuttlers at Manchester’s Royal Exchange Theatre, and Keiran will soon tour the UK and Hong Kong as Bruno in Leicester Curve’s touring production of Roald Dahl’s The Witches. Wirral-based Keiran, 20, had always wanted to act, but never imagined it was something he could make a career of. After school, he studied drama at Liverpool Community College and was pointed in the direction of YEP. “It’s been a whirlwind for me, and I owe a lot to everyone at the Everyman,” he says. “When I performed in The Grid, I realised it was definitely what I was meant to be doing.
This has given her the tor opportunity to work as assistant direc ish Engl and e hous Play & n yma of the Ever of Touring Theatre’s current production , The Odyssey: Missing Presumed Dead all. Bagn Nick tor direc ciate alongside asso YEP’s production of Until They Kick Us Out
“YEP taught me enough to be able to come along and succeed in the interview for this job, and I’ve learned so much even in these first few weeks, finding out what you need to do to make a show happen, and how much is involved,” she says. “This has been such a massive opportunity that I never thought would come this quickly. It’s an ideal opportunity to boost my career and it is a real bridge between education and employment.”
Michelle’s next show will be:
THE WONDERFUL WORLD OF DISSOCIA 8.
Wed 4 to Sat 7 Nov
“To be able to work with a full crew on a professional production is just so fulfilling. I just love the whole process and thrive on the pressure,” she said.
“YEP really made my dream possible and made me think ‘I can do this’. When I look back I can see how pivotal they were in pushing me to achieve things - it is a great foundation for anyone. If I hadn’t joined, none of this would have happened.” ff Young ix by Je t Phoen h g ri B Keiran in
ton, Sarah, now 24 and originally from Pres y ersit Univ res Moo John from d graduate e with a degree in drama, working on fring . skills her lop deve to shows in her spare time nal essio prof of l leve the was it However, help and advice available to her as a led member of YEP that eventually enab s YEP’ l. leve next the to her to progress d este sugg er Rutt Matt tor direc tic artis she apply for the RTYDS programme. “To be a director is my career goal, and I had always put on my own shows and learned by trial and error. YEP have been so supportive, and not just in terms of to putting shows on – they’re always there ce.” advi and talk to and offer feedback
AUTUMN WINTER 2015
With the re-opening of the new Everyman, YEP established itself as one of the country’s foremost theatre companies for young people. And while many members join for fun, for other s it provides a starting point for a professional career. YEP now offers opportunities for young actors, producers, direct ors, communicators, writers and technicians to learn more about all aspects of theatre making. Here are the stories of some YEP alumni taking their ambitions to the next level:
THE WRIT ER A passion for regional stories and a natural talent for writing helped see Daniel Matthew’s first full length play produced at the Playhouse Studio.
THE CATOR I N U M M CO Peter Greggs was part of the first intake of YEP’s Young Communicators. He now works for an up-and-coming design agency in Liverpool city centre. start-up Now 21, he is the creative manager for er form sixth company Papertwin. Peter was a YEP, d joine he n whe at school in Knowsley ia and stayed until the final year of his med ersity. Univ res Moo John at ee degr n uctio prod
Daniel’s play Scrapp ers in the Playhouse Stu dio
Daniel, now 27 and originally from Leeds, studied drama at John Moores University with the hope of becoming an actor. Instead, his playwriting ability shone through and a tutor recommended the year-long YEP Young Writers programme. From there he secured the funding to write his first play, Scrappers, initially for the Everyword new writing festival. It was so well received it went on to be given a proper theatrical run. The play was the story of a group of scrap metal workers in Fleetwood dealing with changing times and an industry under threat. Daniel went on to become Leverhulme Writer on Attachment at the theatres. “I like writing dialogue and telling stories that reflect the life I know,” he says. “The Everyman & Playhouse are the greatest theatres in the world. You go to some other theatres and there’s definitely a class divide. Back home, a lot of my friends wouldn’t dream of going to the theatre. So it excites me to tell stories that don’t get told. “When I started the Young Writers course I never once thought it would end up being what it became, but I absolutely loved it. The theatres’ literary manager Lindsay Rodden was so thorough and enthusiastic, and it really rubbed off on me. It was an invaluable experience.” Daniel now has a literary agent and is currently working on his second play, Folk Off, as well as beginning to write for television. He is the director of the youth ISSUE 1 theatre at the Dukes Theatre, Lancaster.
a young “To be able to work in theatre at such e stag on g bein but , aled appe age really with wasn’t for me,” he said. “I love theatre ng leavi le peop has a powerful message, that s that’ sed reali I and set, mind with a different well.” as ia med t abou love I thing same the e Working with the Everyman & Playhous g Youn the , team ons communicati in the Communicators played an active role sions deci ctive colle launch of YEP and made the of otion prom the and about branding t films company’s shows, as well as making shor nel. chan ube YouT e for the Everyman & Playhous able “It was amazing and I do hope to be n in agai YEP with work and back e com to the with rking the future,” Peter says. “Wo right lot a me ht taug team communications way new a me in led instil and , start the from y.” toda me to of working that is still useful
THE TECHNICIAN Lewis Shrigley is now in his second year of training as a YEP Young Technician, and hopes the experience will be the beginning of a career in the industry. Lewis, 21, from Anfield, initially applied out of curiosity and soon found himself hooked. He says: “I saw a flyer for YEP and thought I’d give it a go, and right from the start I loved it. I was looking for something hands on and practical, and here you learn something new every day.” As a Young Technician, Lewis comes in twice a week to learn from the Everyman & Playhouse’s technical team and so far has worked on more than 20 shows for YEP and other small local companies. The course has taught him all aspects of setting up a show, set lighting and much more. “I’ve found what I want to do and it’s my aim to get a job in theatre now,” he says. “Before doing this I’d never had an interest in it; I’d never even had the chance to see a show, and it was the same with a lot of people I knew. Now I think people are more interested – and I’m always telling them ‘you have to come and see this show, it’s unbelievable’.”
YEP le Youn aflet des g Co ig mmu ned by nicat the ors
Young The YEP Festival rs to ec ir D
9.
Staff Spotlight... Jacquie Davies Head of Wardrobe at Everyman & Playhouse theatres From Hollywood stars to panto dames, Jacquie Davies gets up close and personal with every actor who takes to the stage in an Everyman & Playhouse production. Jacquie has been at the theatres’ since 2008 and has worked on every in-house show since then. With a background in textile design, she has worked in theatres across the North West and Wales, and on television soaps. “Working here is so creative – it’s a lovely environment where you’re surrounded with like-minded people,” she says. “And every new show we do, I have a different set of challenges. My job is fantastic – I get to go shopping for shoes and handbags, and get to make beautiful things. “There is a lovely working atmosphere and nobody has ever been ‘starry’ we’re all working towards the goal of putting on a great show.”
Once the designer and director have come up for the concept for a production, it is Jacquie’s job to make the costume designs a reality. This is usually at the beginning of the rehearsal process, giving some four weeks for everything to be ready on time. At busy periods, Jacquie will take on assistants, but works alone for the most part. She shops for contemporary costumes and makes everything else by hand, taking on board suggestions from cast and crew about what might work best, while keeping things as comfortable and durable as possible. She says: “Some actors have very strong ideas about what they want to wear, and that’s always good, to get to know that character a bit more. Some directors are really keen on costumes, and some are not especially interested. The requirements for a show can change a lot, but it’s an organic process.” In panto season the dame’s outlandish costume changes are a major part of the fun. Jacquie is now so familiar with the requirements of Rock ‘n’ Roll panto regulars Francis Tucker and Adam Keast that she can crack on with work for the festive show much further in advance than regular productions – and with a to-do list that can include anything from princesses to prawns and cows to wicked queens, that can be just as well. Jacquie’s favourite panto dame outfits have included making a dress styled as a wok, and one as a garden, with steps coming out of the costume.
Francis Tucker in the Rock ‘N Roll panto
There is a lovely working atmosphere and nobody has ever been ‘starry’ - we’re all working towards the goal of putting on a great show Jacquie Davies
Of all the productions she has been involved in, Jacquie cites the three Roger McGough Moliere adaptations - Tartuffe, The Misanthrope and The Hypochondriac – as her favourites over the years. A combination of the period detail of the costumes – often too expensive to re-create for the stage in full – twinned with modern flourishes made for an exciting visual spectacle as sparkling as the witty reworking of the text. As with all other aspects of the design of the new Everyman, a fit-for-purpose space for costume-making was desperately needed; and now the department boasts the kind of workroom a dressmaker dreams of. “The old Everyman wardrobe room was cold and definitely wasn’t ideal, and at the Playhouse it is rather small, which makes it tricky,” Jacquie explains. “Here I have got a purpose-built fitting room, that can be curtained off to be private; laundry and dyeing facilities; space for wig making and space to be able to create big things; fabulous state-of-the art cutting tables and machines; there’s plenty of natural light – it’s fantastic. I still can’t wipe the smile off my face.”
The cast of The Misanthrope
Supporter Spotlight... Michael Key A gift for the future For those who love theatre, it is much more than a visit to see a show, it is part of who they are. Often, that first encounter with theatre can be life-changing and the start of a lifelong love of the art form. Sometimes that love translates into financial support, and, for some, into a decision to include theatre in their will.
Michael’s passion for theatre and performance began at an early age, when his father took him to a classical concert as a boy. Born in Dorset, with his first theatrical experience in Bournemouth, he moved to Liverpool for work in the early 1980s.
Michael Key from Everton has been one of the first people to leave a gift to the Everyman & Playhouse in his will.
But it wasn’t until Michael retired from his job at the RSPCA 12 years ago, following on from a career as a political party agent, that his passion for Liverpool theatre really took off. Back then, while introducing the city’s theatre scene to his visiting cousin Leslie, in a bid to dispel the usual stereotypes – they could easily see a different show every night for a week - he realised what a wealth of cultural activities the city had to offer.
A passionate theatre-goer who has seen nearly one hundred productions and concerts across the city this year alone, Michael, 75, was looking for the right opportunity to see part of his legacy go to a good cause.
With the agreement of his family, he has decided he wants to leave 20 per cent of his estate to the theatres. Michael recommends anyone considering leaving a legacy discusses their wishes openly with family first.
“When the fundraising appeal was launched when the Everyman re-opened, it made me think that I wanted to do more than just make a monthly donation,” he says.
Before committing to leaving a chunk of his estate to a charitable cause, he made sure that the other beneficiaries of his will knew what he was planning and understood why he had made such a decision.
Leaving a gift to charity was something Michael had seen the importance of firsthand through his work with the RSPCA, which receives a large portion of its funds in such a way. As he thought about how he would like to distribute his own estate, he considered several cultural organisations before deciding on the Everyman & Playhouse. There is such a fund of goodwill behind these theatres,” he says. “At the Playhouse, I enjoy the quality of the productions, and I know I will be challenged at the Everyman - I keep an open mind and am always fascinated by what I see. The theatres’ commitment to new work makes it so worthwhile to contribute to. It is all about the next generation.
Rowena Dean, Head of Development at the theatres adds “It has been such a pleasure getting to know Michael over the past few years and his love of theatre is immediately apparent. When he first told me that he’d decided to include us in his will I was massively touched by his generosity. As he says, you don’t have to be wealthy to make a difference, and I know from experience that this type of giving can have a huge impact on arts organisations such as the theatres as well as being profoundly satisfying for the supporter”
For more information or to discuss leaving a legacy to the theatres, contact Head of Development Rowena Dean
0151 706 9115
r.dean@everymanplayhouse.com
“I think my family are pleased, and if more people consider doing this it would break down some barriers to donating in this way,” Michael says. “It is something that everybody can do – it is not about being marvellously wealthy. If a lot of people give just a little through a legacy, together it can make a big difference. “I get quite a kick out of knowing I have made this commitment. Things like this give you a sense of purpose, and I find it very rewarding.”
The theatres’ commitment to new work makes it so worthwhile to contribute to. It is all about the next generation Michael Key Michael Key with YEP member
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11.
Thank You WE ARE A REGISTERED CHARITY (1081229) AND GRATEFULLY ACKNOWLEDGE THE SUPPORT OF OUR FUNDERS, DONORS AND AUDIENCES
For their ongoing financial support: Thanks to the City of Liverpool for its financial support
ANDREW LLOYD WEBBER FOUNDATION
JP GETTY JNR CHARITABLE TRUST
ESMÉE FAIRBAIRN FOUNDATION
THE MONUMENT TRUST
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man The Every s now house es on two beehiv eat for r G . f o o r s it me making so t Hope Stree honey The ‘s in the Pla k’ in the p aint-sh y hous iron b ath. U e is actuall op at p until y a ca were st t just a no showers he 1960s th ere single for the bath. used t actors Wha ow , certain ash brush t is now on e ly s ly w g a rac greats s of twe ed by som almost e n of the tieth c like M e Donat ichael Redg ntury theat , Pegg r r y Mou ave, Robert e and P n t , Joh atricia Routle n Thaw dge.
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Those who have left us a legacy:
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DOROTHY SMELLIE ANNI PARKER & BRIAN BARRY MALCOLM AND ROGER FROOD IN MEMORY OF GRAHAM AND JOAN FROOD
And everyone who has supported the new Everyman
Words Vicky Anderson
A num balls l ber of disco i of the ne the turre ts Playho u this m ean W se, does i Sqaur e is ho lliamson m e to th world ’s first e known Pigeon Disco?
Photographs Gary Calton | Jonathan Keenan | Dan Kenyon | Brian Roberts | Christian Smith | Wesley Storey
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AUTUMN WINTER 2015