I was among the arts sector panellists at a public event organised by the Cultural Institute at the University of Leeds recently. It was chaired by the broadcaster (and former Red Ladder alumni) Nick Ahad, and the question posed was ‘What’s next for Yorkshire’s Arts and Culture sector after devolution?’

It’s a big question and there isn’t an easy answer, but what came across loud and clear was that arts funding, whether it’s from the Arts Council, local authorities, or a new body entirely, is really important if we want a thriving and sustainable sector in the future.

I’ve been working in the theatre for the past 35 years and it’s both a privilege and a joy. But there’s probably never been a more challenging time to work in theatre during that period than right now.

In theatre, access to funding is key and when that is cut it has a real-life impact on writers, directors, actors and all the stage technicians and designers who bring shows to life. BBC research published recently found that the number of plays and musicals staged by the UK’s main subsidised theatres last year was down by almost a third compared with a decade earlier, with funding cuts and rising costs taking much of the blame. Does this surprise me? No, not really. Is it concerning? You bet it is.

If the amount of work being made is reducing it means fewer opportunities for artists starting out. I still talk to young artists I’ve mentored over the years and one of them asked me recently ‘how do I sustain a career in Manchester?’ and it flummoxed me because the avenues open to me when I was their age no longer exist. When I started out as a writer in residence at a theatre company in Lancashire in the early 90s, I was able to access bursaries. But these aren’t around anymore.

I was lucky that I always had work, either through residencies or commissions, including radio dramas for the BBC. This meant I was able to hone my craft and get paid at the same time. I didn’t get tons of money but it was enough so I could afford to live in Manchester and sustain a career in the north. And that’s incredibly hard to do now.

We always think the generations coming after us will have it easier than us, but this is no longer the case. It’s harder for theatre writers and directors today. But that doesn’t mean it’s impossible. There are still opportunities, we just have to be a bit more creative.

The squeeze on arts funding means people are looking for partnerships, with more co-productions even among the big theatres. This is something we have embraced at Red Ladder over the years. Scratch nights are a great way for artists to test out and explore new work in front of an audience which is why we’re collaborating with Leeds Conservatoire to run one in July featuring work from budding writers and directors. We’re a small theatre company but by collaborating with others our combined resources go further. A little can go a long way.

I’m passionate about nurturing new talent which is why I’m running a short series of workshops again this summer for new writers, actors and directors. These were a big success last year, so much so that one of the participants, Seeta Wrightson, is one of the co-writers of our next show, A Proper Merry Christmess, which will be touring from November. My dream is to create a pool of artists – writers like Seeta – that we can commission or collaborate with for years to come.

I also believe that forging close community links is a crucial part of all this. That’s something we do with our Red Ladder Local programme which plays to unconventional spaces in working class communities, whether it’s somewhere like Belle Isle in Leeds, or Horbury near Wakefield. It’s a way of bringing theatre to people, especially youngsters, who might not normally get the chance to see a show. And if just one young person in the audience thinks ‘wow, I can do that’ then it’s worth it.

For me, this sort of work is crucial because if schools aren’t going to the theatre as much as they used to, and drama and the arts have dropped down the list of priorities in schools, then where else will they get an opportunity to see a play or a musical?

Working in communities is great because it allows you to take more chances. As a director I can usually do riskier work because audiences don’t have the same preconceived idea of what theatre should or shouldn’t be. This is how you sharpen your craft and discover what works and what doesn’t. I crave that freedom.

One of the challenges with theatre today is because there’s so much financial pressure on theatre companies and venues there’s a tendency to put on recognised, crowd-pleasing shows that are guaranteed to put bums on seats. But if you keep doing that then how does the next generation of writers get their chance? Where will the next Lucy Prebble or Alan Ayckbourn come from?

I worry about future artists feeling discouraged from pursuing a career in the arts, either because they don’t have a bank of mum and dad or they feel there’s a lack of opportunities. That would be a real travesty.

Despite all this, I am optimistic. When I go to a Red Ladder Local venue and see how enthusiastic the audiences are about the shows it reminds me of why I love what I do, and it makes me want to do more.

I’ve been lucky enough to do a job that I love. But you have to be incredibly resilient to work in the arts these days and I would like it to be a little bit easier to make a living. It shouldn’t be a slog. Is there a way to do that? Yes, I think there is, and we’re already seeing it in the partnerships and collaborations between like-minded people and organisations. We just need to scale it up, because surely all of us deserve the chance to enjoy good art, right?

Main image: Cheryl in Sanctuary rehearsals, alongside musical director Jen Pugh. Credit Rhys of Robling Photography