News
New Red Ladder Local season on sale now!
As the weather is starting to turn a little nippy, let’s share our brand new Red Ladder Local shows to tempt you out this autumn.
We know we’ve said it before but there really is something for everyone! Have a read and tell us we’re wrong…
Credit Nathan McGill
KAILEY
Kailey’s mum’s been sent to prison, and she needs to grow up – fast.
Inspired by writer Kerry Wright’s own lived experience, Kailey is a bold new play that shines a light on society’s forgotten young people. Funny and searingly honest, Kailey doesn’t ask for sympathy; it demands you look closer.
Credit Luminous photography
MONUMENT
A one-woman comedy drag show with audience participation, rap and pickled gherkins.
Set at mysterious construction sites in Czechoslovakia and the UK, Monument asks about the real cost and purpose of hard-work.
Credit Rubbish Shakespeare Company
STORY FORGE
Two loopy Professors hilariously invent three new myths using cardboard!
Choose the adventure, shape the tale, even be the hero! Legendary family fun from award-winning champions of children’s theatre.
You’d be mad to myth it!
Credit Brave Words
MUTTON
1809. Mary Bateman is about to be hung for witchcraft and murder. Her career of crime has included poisoned pudding, a holy hen, a fire at the mill and…a freshly-shaved leg of MUTTON. A dark comedy, exploring the life of the Yorkshire Witch. And why we should shove patriarchal history firmly up a chicken’s arse.
And of course our touring double bill A Proper Merry Christmess and A Town Called Christmas are now on sale too.
You are not going to want to miss Wrongsemble’s magical family show about the true meaning of the season, and our brand new dark comedy (not for kids) about what Christmas truly means for most of us.
We look forward to seeing you at one or all of the performances!
Main image from Kailey credit Ant Robling
Shining a light on society’s forgotten young people. Meet playwright Kerry Wright.
Kerry Wright is a playwright, producer and facilitator based in Bradford. Originally from Kent, she studied MA Writing for Performance at the University of Leeds. Kerry explores contemporary social and political topics through her work and is passionate about devising theatre with working-class communities and young people. Her play, Kailey, comes to Yorkshire in September.
Can you tell us a little bit about Kailey? Kailey is a comedy drama that follows 18-year-old Kailey as she tries to figure life out while her mum is in prison. It’s her first taste of real independence, navigating a new job, applying to uni, and messy nights out with her best friend, Beth, until things start to spiral. Honest and full of heart, the show asks: ‘Who looks after you when your parent is in prison?’
Where did the idea come from, and why did you want to tell this particular story? The idea has been in development for over five years, and I wanted to tell this particular story as Kailey’s story is inspired by my own. When I was a teenager, both of my parents were in prison, and as a direct result I had to leave the family home and leave college. I found myself in a no-man’s-land of systems that couldn’t help me. It wasn’t until I started doing research for my play that I realised my story isn’t unique, and I wanted to shine a light on thousands of young people who are currently going through it.
Kailey credit Ant Robling
What inspired you to want to be a writer? I have always been creative and constantly filled notepads with stories and poems as a kid. I would often rewrite film plots that lacked female representation and add myself as a character. My love for creative writing continued throughout my childhood, and I was lucky that I had a teacher in primary school who really encouraged me to write, too. I went on to study English and American Literature with Creative Writing at the University of Kent and then Writing for Performance at the University of Leeds – I was the first person in my family to go to university. This was also the first time that I studied creative writing as a serious subject and I absolutely loved it. It opened a whole new world of literature that I did not know even existed. I then started writing plays, stories, and poems using my own experiences.
Where does your interest in theatre and performance come from? I never really considered it as an option. It wasn’t until a university tutor said that my dialogue-heavy stories would be better as plays that it opened that world for me. So I do have him to thank. If it wasn’t for that comment, it wouldn’t have sparked that interest!
What’s your earliest memory of going to the theatre and was there a memorable production that has stayed with you? The first time I ever went to the theatre was when I was 12 years old. A friend from school invited me to join her and her family to see the local pantomime. I didn’t know what to expect but from the moment the lights went down, I was completely hooked. The energy was electric and the characters were larger than life. It was pure joy. That experience stayed with me for a long time. It was the first time I realised how powerful live performance could be, and how it could bring people together.
What makes writing for the stage so appealing? There’s an immediacy and intimacy that make every performance unique. There’s also something powerful about the limitations of the stage. Working within a confined space pushes you to be more creative with dialogue, character, and structure. It’s often all about the words, the performances, and the connection between the people in the room. Also I love how theatre invites honesty. It’s a place where complex, messy, funny, emotional stories can be told in bold and imaginative ways. That kind of storytelling is so appealing to me.
Kerry in Kailey credit Ant Robling
What’s your favourite play, and why? Currently my favourite play is Wasteland by Gary Clarke Company. I loved the way the story was told through the movement of the dancers and the use of music. The music was incredible and I still think about it often.
Why are theatre companies like Red Ladder important for young writers? Theatre companies like Red Ladder are vital for young writers because they create space for new voices to be heard. They don’t just open the door to the industry; they support you through it, offering mentorship, development opportunities, and a genuine belief in the power of untold stories. What makes Red Ladder especially important is their commitment to staging work in non-traditional venues, making theatre that goes out into communities and reaching audiences who might not usually engage with it.
What advice would you pass on to other young writers, or performers, just starting out? My advice would be to take as many opportunities as possible, whether that’s a free workshop, a talk, or cheap shows, as you’ll never stop learning. Also chat to everyone, get to know people whether they are actors, producers, the barista in the theatre café – you never know where the conversation might lead to. Also, do take a break if you need one, I took four months off from developing Kailey and it was the best thing I ever did, as I came back so much more motivated and with a clearer sense of what I wanted to do.
What do you hope audiences take away from watching your play? I hope they leave thinking what a cracking night out they’ve had, but with questions and thoughts on how we can do better as a society for vulnerable young people.
What are you most looking forward to about bringing Kailey to Red Ladder Local venues? I’m excited to bring the show to audiences who might not get to see it otherwise!
Main picture: Kerry Wright credit Nathan McGill
You can book now for Kailey at Red Ladder Local:
St Bartholomew’s Church, Armley, Leeds – Sept 17, 7pm. BOOK TICKETS
The Gate Belle Isle TMO, Leeds – Sept 18, 7pm. BOOK TICKETS
The Cluntergate Centre, Horbury – Sept 20, 7pm, BOOK TICKETS
Cast announcement for Red Ladder and Wrongsemble’s festive theatre double bill
We are delighted to introduce our cast for the Christmas shows we’re taking on tour across the UK later this year with our friends from Wrongsemble.
Our brand-new dark comedy, A Proper Merry Christmess, co-written by Seeta Wrightson and Leon Fleming, hits the road with Wrongsemble’s family show A Town Called Christmas in November. Both will feature the same trio of brilliant actors.
Let’s meet them…
Maryam Ali (Rani/Clementine)
Maryam is an actor and theatre maker based in Teesside. She trained at Manchester School of Theatre and spent several years teaching in primary and SEN education before returning to theatre last year. She is currently developing her first full length play which has been commissioned for an R&D with ARC Stockton.
Her theatre credits include: Titus Andronicus (Theatre Space NE), Wolf! (Kitchen Zoo/Northern Stage), Home from Home (Novo Theatre, R&D), Dear Rachel Corrie (Alphabetti response writing programme), The Interview (Live Theatre, rehearsed reading), and Hamlet (HER productions).
Maryam loves theatre that is full of fun and heart, which is why she is looking forward to being part of this festive double bill!
“I can’t wait to get started with the shows. Red Ladder and Wrongsemble are both gorgeous companies who make really playful, exciting work, so I’m buzzing to be spending Christmas with them!”
Roo Arwen (Red/Glitch)
Roo is a Manchester-based actor, singer, and musician, and a recent graduate of The Arden School of Theatre, and these productions mark her professional theatre debut.
Originally from Bradford, Roo cultivated a deep-rooted passion for performance from an early age. She is passionate about work that explores meaningful themes of connection and lived experience, with a particular love for comedy.
In addition to her work as an actor, she is also a professional singer, regularly performing, writing, and producing her own music across the North.
“I cannot put into words how excited I am to begin this new chapter with Red Ladder and Wrongsemble this Christmas. As a recent drama school graduate, it feels especially meaningful and sentimental for me – taking me back to being a young girl, inspired to act by the magic of local Christmas shows. I can’t wait to share these stories and hopefully spark that same joy in others!’
Charles Doherty (Michael/Tim)
Charles was raised in Australia (yes, the accent slips out occasionally) and trained at the Western Australian Academy of Performing Arts before moving to the UK. He now calls the North his home, working as an actor and singer across stage, screen, opera, and musical theatre.
His career has seen him play singing cats (Cats), gothic dads (The Addams Family), and even the devil himself (Jerry Springer the Opera) – he also picked up a NODA Award as King Arthur (Spamalot).
He’s toured internationally in Joseph and the Amazing Technicolour Dreamcoat, Evita, and Oliver! And on screen, he’s popped up in The Tattooist of Auschwitz, John Carpenter’s Suburban Screams and The Toys That Built America – to name just a few.
Charles loves stories that bring people together and is thrilled to be part of this festive adventure.
“I’m looking forward to reclaiming the energy and fun of grass roots theatre!”
“I thought if I called myself a ‘disabled actor’ people wouldn’t want to work with me. But it’s important, it’s part of my identity.” – Lara Wilson
For as long as I can remember I’ve loved being creative. At school I enjoyed reading and writing stories and I loved going to the theatre to watch musicals with my parents. When I was nine, I joined East Leeds Youth Theatre and that’s what really sparked my passion for performing and being on stage. It was like stepping into another world.
The theatre was run by a lovely lady called Sara Allkins and we created many wonderful shows, performing in different venues across Leeds. Sadly, the youth theatre no longer exists but I adored it and I cherish those memories.
As someone who has cerebral palsy and is an ambulatory wheelchair user, getting the chance to act on stage was exhilarating. It’s something I was able to further explore when I joined the BA acting course at Leeds Conservatoire, where I spent three amazing years.
The stage is my passion but because I have cerebral palsy I sometimes doubted whether I could be a performer, or whether I could realistically do this as a career. But Leeds Conservatoire and especially Erin Carter, who is head of drama there, encouraged me to embrace having a wheelchair and to use it as a creative tool, rather than seeing it as a hindrance or a barrier. That was a liberating moment for me and boosted my self-belief.
Lara Wilson performing as Mercutio in Leeds Conservatoire & Leeds Playhouse’s co-production of Romeo and Juliet credit Cian O’Riain
In the past I tried to downplay my condition. I thought if I called myself a ‘disabled actor’ people wouldn’t want to work with me. But it’s important, it’s part of my identity. In my third year I played Mercutio in Romeo and Juliet at Leeds Playhouse, and I made the artistic choice to perform both in and out of my wheelchair, using it as a creative tool – a choice I wouldn’t have made previously.
This gave me the confidence to do Red Ladder’s directors’ workshop last year, which was run by Cheryl Martin, the artistic director. I really enjoyed it and a couple of months ago Cheryl said she was running the course again and asked if I’d like to be her assistant director, so I jumped at the chance. I learned what it’s like to run a rehearsal room as well as all the admin side of things. Cheryl also invited me to direct one of the rehearsed readings at the recent Leeds Theatre Festival, which was amazing. I got to be part of the audition process which was really insightful both from an acting and directing perspective.
I directed the rehearsed reading of Sameer Ali’s dark comedy Bring Me the Head of Dr Vohra. We had five actors who were a joy to direct, which made my job so much easier. The writer really liked what we did with the characters. That was important because you want to do the best you can with someone else’s work. And the audience loved it too. It was a brilliant experience and really gave me confidence and made me think ‘I can do this – I’m good at it.’
Lara directing on Red Ladder Course credit Sara Nelson
I’m grateful to have had the opportunity to do something I love, but the fact is people with disabilities are still hugely underrepresented not only in the arts, but many professions. According to statistics from 2023, more than 16 million people in the UK have a disability of some kind, that’s 24% of the total population – or almost one in four of us!
There are so many more disabled people out there than we realise, and I think attitudes are shifting. There’s growing awareness and representation of disabilities which has to be a good thing – and theatre has played a part in this. I love how it can give a voice to people who aren’t normally seen, it’s certainly increased my own awareness of other disabilities.
The beauty of theatre is it can entertain as well as educate, it has the power to start a conversation and shape people’s perceptions. This is something that should be harnessed. We need to show young people, no matter who they are or what their background, that they can have a career in the arts. Which is why it’s so important they get the opportunity to develop their skills and thrive, and places like Red Ladder and Leeds Playhouse are doing exactly that, they’re making theatre more accessible.
Last year, when I did the Red Ladder course there were multiple people with disabilities and for me it was nice to feel like I wasn’t the only one. I didn’t realise how good it would feel to be surrounded by other wheelchair users until I experienced it.
But it’s not only important that opportunities exist in the arts for those with disabilities, we also need to make sure there are viable pathways that young people can follow, so they know they can enjoy a successful and rewarding career in the theatre, whether it’s acting, writing, directing or all three.
At the end of the day it’s about giving people the chance to follow their dreams and the opportunity to do something they’re good at and passionate about. And, perhaps most importantly of all, it’s about giving them a voice.
Lara Wilson is a disabled Yorkshire-based actor and theatre maker, and a graduate of Leeds Conservatoire’s BA Acting course. In 2023, she performed in Leeds Playhouse’s co-production of Romeo and Juliet as Mercutio and has worked with Red Ladder as an assistant director.
Lara portrait credit: Emily Goldie
“Red Ladder is all about finding and championing unheard voices, and our partnerships and collaborations help us achieve this” – Cheryl Martin
Red Ladder has a long history of fruitful partnerships and collaborations. It’s something we’ve been doing long before I came here, and it’s something I’m keen to continue.
After the workshops I ran for Red Ladder last summer I could have hired at least half of all the actors, writers and directors who took part. Sadly, there isn’t enough money for that, but it made me realise just how much artistic talent there is not only in Leeds, but beyond, and as an artistic director I want to try and nurture as many budding actors, writers and directors as possible.
And collaborating is crucial for this. The reality is you get more bang for your buck when you work with others which is why we have recently reignited our partnership with Leeds Conservatoire. Earlier in the year I directed their second year acting students. I enjoyed it immensely and was really impressed by their ability and professionalism. This week, we’re working with them as part of their Leeds Theatre Festival. We’re producing a series of readings of original works from four brilliant new northern writers, performed by Conservatoire undergraduates and graduates. Plus a scratch night featuring extracts created by playwrights from last summer’s Red Ladder writers’ workshops.
Separate from the festival, but based at the Conservatoire, we have a special evening when the actors, directors and writers from our 2025 workshops will present a series of new pieces.
All of these events are open to the public. And you can book here.
Seeing these young people working together, learning and sharing new ideas has been inspiring and energising and tells me that as an organisation, Red Ladder is on the right path.
The whole Leeds theatre ecology benefits from partnerships like this because writers have a platform for their work which gets seen by the public as well as bigwigs from the local and regional theatre industry who are always on the lookout for new talent.
All of this is important to me personally because I had loads of support when I was starting out. I had residencies as a writer from the very beginning of my career with professional theatre companies, and when I became a director I had bursaries from the Arts Council that paid for me to be an assistant. The connections I made through this helped me get the rights to a play that I later won a major award for. Without this support I would have really struggled, and yet none of the opportunities I had is there anymore.
Something has to fill this gap and provide opportunities to all the emerging talent that I know is out there. Which is where partnerships between theatre companies and arts organisations come in. By collaborating with one another we’re able to reach more people and become greater than the sum of our parts. That’s why Red Ladder is collaborating with organisations like Leeds Conservatoire and the theatre company Wrongsemble, who are also just down the road from us.
We’re joining forces with Wrongsemble to take a double bill of Christmas shows on tour across the UK later this year, including our new comedy, A Proper Merry Christmess, written by Leon Fleming and debut playwright Seeta Wrightson, who came through Red Ladder’s workshops in 2024.
Our collaboration with Wrongsemble makes touring more viable for both of us, because we’re sharing the cast which means our money goes further. It also enables us to tap into each other’s expertise and knowledge – it’s a no-brainer!
Red Ladder is all about finding and championing unheard voices, and our partnerships and collaborations help us achieve this. We’re always looking for plays and shows that we can do and new writers to work with, and one of our pledges is that we will always read the first 10 pages of every script we get sent. We can’t develop all of them, but we feel this is a more inclusive way of finding new talent.
For both our last big show, Sanctuary, and our new one, A Proper Merry Christmess, we had open call outs for actors meaning it was open to anyone. And that’s the idea. We’re not a closed shop, we want people to feel they can come to us.
But it’s not just about Red Ladder. In the future I’d love to see some of the people who have collaborated with us, or come through our workshops and courses, to start working together – kind of like a ‘grow your own’ talent pool. I’d love to see new arts and theatre companies forming as a result of all this. That’s our vision. That’s our dream – and there’s no reason why it can’t happen.
Join us at Leeds Theatre Festival
Hot on the heels of our Wrongsemble partnership, we have another exciting collaboration to shout about…
We are joining forces with our dynamic neighbours and specialist industry educators, Leeds Conservatoire to pool resources and expertise, thereby providing more opportunities for local actors, writers and directors.
As part of the Conservatoire’s MA Theatre Festival we have:
- rehearsed readings of original works from some fantastic new northern writers, performed by Leeds Conservatoire undergraduates and graduates
- a scratch night featuring extracts created by playwrights from our recent writers’ workshops
- an evening celebrating all the actors, directors and writers from our 2025 workshops, collaborating on brand new shared pieces showcasing their newly honed skills.
As well as these performances, join us in the Conservatoire’s stunning Rooftop Bar to toast this new partnership. Details below.
Working together is a brilliant way to open doors for some absolutely cracking emerging northern voices, whilst introducing us to a whole new group of talented artists. And trust us, you’re going to want to catch these creatives now!
All the events are at Room 219, Leeds Conservatoire, 3 Quarry Hill, LS2 7PD:
Wednesday 16th July at 12:45pm – Rehearsed Reading: Dirty Angel by Mae Milburn
Dirty Angel is a play about Rotha Lintorn Orman, the political activist and World War I veteran who se up Britain’s first fascist organisation the British Fascists. It’s a love story. Part drama, part poem, part rave, this show explores the sticky boundaries between queer shame, class hatred and fascism. It asks when is love not enough to save us? Based on a true story.
The writer would like to make the audience aware that this show contains: antisemitism, violence, drug use, sex.
Thursday 17th July at 12:45pm – Rehearsed Reading: Close Enough to Touch by Henry Roberts
A funny and intimate, queer, one-person play exploring sexuality, shame and… toilets. He’s lost in life. He doesn’t have a job, be doesn’t have a direction… but he does have a secret. He spends his days cruising men’s toilets, finding secret pleasure with strangers. But over the course of the play, his secrets start to catch up on him, his shame builds, and the people around him start to pay the price…
Friday 18th July at 12:45pm – Rehearsed Reading: Gogh Angel by Tina Firthlock
Gogh Angel is a scratch and sniff musical comedy about failed artist Heather, a middle aged hoarder trapped by emotional attachment and chronic procrastination, who lives with the ever-enabling, mischievous and manipulative Housten, determined to grow the hoard at any cost.
Saturday 19th July at 12:45pm – Rehearsed Reading: Bring Me The Head Of Dr Vohra by Sammy Ali
Bring me The Head Of Dr Vohra follows misanthropic medial student Nadeem Vohra on his quest to graduate whilst soaking up as much attention as humanly possible. It’s a dark comedy with a beating heart – a heart uncovered as we learn that our hero’s cartoonish adventures stand in stark contrast to his not-so-funny history of childhood abuse. The show explores the impairment of children piloting adult bodies, how thin skin can come from wear over time, and how both exhaustion and hope can be found in repairing others. Fleabag meets This is Going to Hurt.
Saturday 19th July at 5:00pm – Red Ladder X Leeds Conservatoire Scratch Performances
Watch our 10-minute scratch performances by writers from Red Ladder’s emerging writers programme, performed by actors from Leeds Conservatoire.
That Time We Got High, by Stephanie Reynolds
Tough Flowers (working title), by Declan Kelly
Paul and Agatha Across the World, by Leslie Ann Po
When Will the Pressure Cooker Whistle, by Gareth Rhodes
Tickets for this event are FREE RSVP here
Saturday 19th July at 6:00pm – Red Ladder X Leeds Conservatoire Drinks Reception & Networking
Join us for drinks and canapes in The Rooftop Bar, Leeds Conservatoire at our evening reception and networking event where we will formally announce our exciting new partnership.
Tickets for this event are FREE RSVP here
Thursday 24th July at 6pmRed Ladder’s 2025 Writing/Directing/Acting showcase
An evening celebrating all the actors, directors and writers from our recent workshops, sharing their collaborative works and honed skills.
The bar will be open from 5:30pm and there will be a short interval.
Tickets FREE and available HERE
We really hope to see you at one of more of these events.
What is Pipes and Poo? One Tenth Human’s, Sarah on what to expect from this fun family show
Pipes and Poo co-creator and One Tenth Human’s Artistic Director, Sarah Punshon reveals more about what audiences can expect from the show, as well as how the show came to be.
Pipes and Poo is described as a practical, interactive game-show, packed with science, fun and even a bit of dancing. What else can audiences expect?
Ooh good question. There’s a rap! Some live science experiments. Some extraordinary facts! And a lot of important work by our volunteers from the audience. We play various games during the show, including “Spend A Penny”, “True or Poo” and “Chuck n Flush” – my favourite is probably “Chuck n Flush”, because the grown-ups have to get involved too! I love seeing families having fun together during the show.
What has the Pipes and Poo journey been like?
It started nearly three years ago. We made lists of all the things kids love, and compared them to some of the biggest challenges chemical engineers grapple with. Pipes and Poo sprang out at us! Creating clean, safe water is one of the most vital jobs scientists and engineers do for us – and playing with water is one of the things kids love the most.
As with all One Tenth Human shows, the project’s been through a long process of exploration, development and testing: we were lucky enough to get funding from the Royal Society of Chemistry to work with real chemical engineers, led by Professor Siddharth Patwardhan from the University of Sheffield, who taught us a huge amount about what really goes on in our water systems. We’ve also talked to engineers working for big utilities companies across the UK, and sociologists working on how we organise our water systems. And we’ve run loads of workshops and testing sessions, finding out what children and adults know and find interesting about all this: it’s amazing how little we all know about what happens to a poo after you flush the loo!
I think my favourite stage of development was when we took the toilet set-up out for the first time. We put it in a park as part of “Hulme is Where the Art is” festival, and invited children to make fake poos and flush them down the loo. When our sewage tank got full quicker than we ever imagined it would, I thought we’d have to stop for a bit. But then I watched as a team of kids aged 4 to 11 worked together to invent a system for filtering the water so they could reuse it – with hardly any adult involvement at all. It was wonderful to see the teamwork in action. That’s become a central thread to the show. We’re all linked together by sewage and water: we all impact each other, and we can all help each other, too, by how we behave.
The show is touring to all sorts of venues, including The Cluntergate Centre for Red Ladder Local. What are you most looking forward to about performing in different spaces?
Outdoor venues are a bit easier – you don’t have to worry so much about splashing the floor! And I love the more relaxed quality of the drop-in outdoor festivals, where children can choose how long they stay and help us with our sewage system. On the other hand, indoor venues allow the audience to sit down! And there’s a different quality of listening you can get when you’re in a comfy chair indoors, rather than outdoors competing with everything else going on at a festival… So I love both, but for different reasons.
What’s it like having performers like Ebony Feare and Hannah Goudie-Hunter involved in the show, especially as they were both involved in early sharings of the show?
Amazing! They’re both so brilliant, warm and witty and wonderful with kids. They’ve been a crucial part of the team creating the show, loads of the best lines are theirs! We’re so lucky to have them.
What do you hope audiences get from Pipes and Poo?
Loads of fun! And I also hope that elements of the show will live with them for a bit: that they might look at their toilets and their taps a bit differently afterwards. Once you really start to think about the extraordinary effort involved in getting some clean water to your tap, or taking the dirty water away again, you can’t help but be astonished by what people can achieve when we work together.
Lastly…favourite bit of ‘toilet’ humour?
Ooh there’s too many to choose from! But the simplest maybe is the best:
What does a poo say when it’s flushed down the loo? Weeeeeeeee!
Photo credits: Tom Arran
PIPES AND POO IS PLAYING AT THE CLUNTERGATE CENTRE, SNU 13TH JULY AT 2PM. BOOK HERE!
Three stonking summer shows to keep the kids entertained
A playful new musical, a unique take on Shakespeare, and an interactive family game show adventure are all coming to Yorkshire to help keep children entertained this summer – part of Red Ladder Local’s programme for 2025.
Robyn Hood, an original take on the classic folktale, is coming to The Cluntergate Centre, Horbury (June 22) and St John’s Parish Hall, Staincross, (July 24), with Pipes and Poo, also playing at The Cluntergate Centre (July 13). Joining them is Rubbish Romeo and Juliet, which is on at Belle Isle Tenant Management Organisation (BITMO), Leeds on August 21.
Fidget Theatre’s Robyn Hood credit Robling Photography
Written and directed by Ruth Cooper and Andrea Heaton, Robyn Hood tells the story of Robyn, a little girl who lives in a big city. Robyn likes to play outside in her den, where she dreams of woodland adventures. That is until one day developers arrive, putting her den under threat. Robyn retreats into her fantastical forest world where she teams up with a brave band of outlaws, and together they take on the mean sheriff.
Robyn Hood features playful storytelling, original live music, friendly audience participation and integrated audio description.
‘Pipes & Poo’ at Z-Arts, Manchester by One Tenth Human.
Pipes and Poo is a brand-new show from award-winning children’s theatre company One Tenth Human. Featuring ridiculous dance moves, competitive flushing and real toilets. This delightfully disgusting interactive game show explores the extraordinary world of water, pipes, and poo!
Rubbish Romeo & Juliet credit Andrew AB Photography
Also heading to Yorkshire this summer are the brilliant Rubbish Shakespeare Company who will be performing Rubbish Romeo and Juliet. This much-loved children’s theatre company, described as ‘like Horrible Histories but funnier’ (Primary Times), returns with a riotous family-friendly treat using only a box of tatty wigs, a worn floral dress, and a burst airbed.
Featuring clowning, slapstick and mischievous storytelling, this is a joyous introduction to Shakespeare – or even theatre itself!
Alice Barber, Red Ladder’s creative producer and programmer, said,
With summer almost upon us we know that families are looking for fun and affordable ways of keeping their children entertained – and all these shows do exactly that.
We really hope to welcome you to one of our Red Ladder Local venues this summer for some fantastically fun family theatre!
For more information and to book tickets visit Red Ladder Theatre Company
ends
Robyn Hood: Age recommendation 3-7
Pipes and Poo: For everyone aged 4 and over
Rubbish Romeo and Juliet: suitable for children 5 and over
Tour dates
The Cluntergate Centre, Horbury, June 22, 2pm
St John’s Parish Hall, Staincross, July 24, 2pm
The Cluntergate Centre, Horbury, July 13, 2pm.
The Gate at BITMO, Leeds, August 21, 2pm
Tickets for Red Ladder Local shows are never more than £5, but if you require a subsidised space, please email info@redladder.co.uk
RED LADDER & WRONGSEMBLE CASTING CALL
A PROPER MERRY CHRISTMESS/A TOWN CALLED CHRISTMAS
Directed by Cheryl Martin / Elvi Piper
Written by Leon Fleming & Seeta Wrightson / Elvi Piper with original music by Bay Bryan and Claire O’Connor
Northern based actors preferably West Yorkshire
Auditions:
Mon 2 June 2025 10am – 2pm and Fri 6 June 2025 11am – 8pm
at Yorkshire Dance, 3 St Peter’s Square, Leeds LS9 8AH
Please select your preferred date and approximate time and we will endeavour to match up
Please apply via Spotlight or send CV and Spotlight link or show reel to cheryl@redladder.co.uk
Deadline – midday Thursday 29 May 2025
You will hear from us by midday Friday 30 May 2025.
If you don’t hear from us then, please assume your application has been unsuccessful.
Rehearsals in Leeds from 20 October 2025
Tour 24 November – 31 December 2025
A Town Called Christmas – originally co-commissioned with Gala, Durham and Wrongsemble
Red Ladder is an ITC Ethical Manager, issuing ITC contracts.
A PROPER MERRY CHRISTMESS by Red Ladder
It’s Christmas Eve at Sutton Lane, West Yorkshire’s (almost) favourite garden centre and VIPs are visiting the grotto.
As the manager frantically prepares for her close-up, can the the Elf, Santa and the Tree salvage this “naughty but nice” Christmas for the cameras, as well as keep their own personal complications away from the spotlight?
This is not like one of those Christmas movies; no-one’s coming to save them. This is real and funny and messy and chaotic: perfectly imperfect.
A TOWN CALLED CHRISTMAS by Wrongsemble
Clementine dreams of a gingerbread village where chocolate coins are currency, and laughter hangs like baubles in the air! The happiest place on Earth. Or at least it used to be…
Together with a cantankerous caretaker and a glitching robot, can you help her save the day, and the town called Christmas?
For adventurers aged 3+ and their grown-ups.
PERFORMER 1
A PROPER MERRY CHRISTMESS
Rani (female, 19, British South Asian)
Rani is 19 and staying back in her family home for the first time since leaving to start university. She’s feeling the strain of the family unit, and has been drafted into the grotto at the last minute; she needs the money, but she’s hungover as hell. She is super fashionable, has a habit for melodrama, and is keeping a big secret from her family…
A TOWN CALLED CHRISTMAS
Clementine OR Glitch
Clementine (young, female)
Clementine is a young woman (age undefined approx. 18-25) with a romantic spirit and a love of nostalgic Christmases past. She is the eternal optimist, who despite the loss of her beloved Aunt (and primary care-giver) is inspired to turn her loss into something positive by returning to the town that brought her (and her aunt) so much joy. She is smiley, loves festive ‘Dad-jokes’ and has a spring in her step. Highly skilled vocalist required, confident singing 3-part harmonies, comfortable with learning choreography and an interest in work for family audiences desirable.
Glitch (robot, age and gender unimportant)
Glitch is a lovable clumsy hyperactive robot who loves Christmas more than anything. They are forever glitching (hence the name) and have a tendency to short-circuit at the most inopportune of times! Glitch has a heart of gold, and will sacrifice anything to save the town they love to care for. They are Tim’s lifelong sidekick and best pal, and quickly forge a friendship with Clementine on her arrival to the town. Highly skilled vocalist required, confident singing 3-part harmonies, comfortable with learning choreography and an interest in work for family audiences desirable.
PERFORMER 2
A PROPER MERRY CHRISTMESS
Michael (male, early to mid 50’s, non-ethnicity specific)
Michael has been made redundant from his job of 30 years, and it’s hit him hard. He’s been working at the grotto for the whole season, dressed as Santa, which he finds degrading and onerous – not least because he doesn’t like children! He’s desperately searching for purpose, and can be very single-minded – but under the grumpy exterior, there’s a kind heart.
A TOWN CALLED CHRISTMAS
Tim (older male)
Tim (aka Tiny Tim) is the grumpy curmudgeonly caretaker of the town. With a gruff frosty exterior he takes an instant dislike of Clementine and her eternal optimism. But, as the last remaining human resident of the town he has good reason for his axe-to-grind attitude, and unwillingness to be easily swayed into Clementine’s plan to restore the township. However a secret long buried in his past will ultimately unlock not only the key to saving the town, but also his heart. Highly skilled vocalist required, confident singing 3-part harmonies, comfortable with learning choreography and an interest in work for family audiences desirable.
PERFORMER 3
A PROPER MERRY CHRISTMESS
Red (female or non-binary/queer, early 20s, non-ethnicity specific)
Red is a Queer single parent, and carer to their elderly Mum. They work multiple jobs to support the family, but what they really dream about is making it as a singer someday. They are relentlessly upbeat, and see the best in everyone, even if that makes them a little naive sometimes.
A TOWN CALLED CHRISTMAS
Clementine OR Glitch
Clementine (young, female)
Clementine is a young woman (age undefined approx. 18-25) with a romantic spirit and a love of nostalgic Christmases past. She is the eternal optimist, who despite the loss of her beloved Aunt (and primary care-giver) is inspired to turn her loss into something positive by returning to the town that brought her (and her aunt) so much joy. She is smiley, loves festive ‘Dad-jokes’ and has a spring in her step. Highly skilled vocalist required, confident singing 3-part harmonies, comfortable with learning choreography and an interest in work for family audiences desirable.
Glitch (robot, age and gender unimportant)
Glitch is a lovable clumsy hyperactive robot who loves Christmas more than anything. They are forever glitching (hence the name) and have a tendency to short-circuit at the most inopportune of times! Glitch has a heart of gold, and will sacrifice anything to save the town they love to care for. They are Tim’s lifelong sidekick and best pal, and quickly forge a friendship with Clementine on her arrival to the town. Highly skilled vocalist required, confident singing 3-part harmonies, comfortable with learning choreography and an interest in work for family audiences desirable.
Below are a pdf and a plain text version of the call. If you have any further questions, please email cheryl@redladder.co.uk
Leeds theatre companies Red Ladder and Wrongsemble team up for exciting new partnership
We are joining forces with our fantastic friends and fantabulous family theatre creators, Wrongsemble, to take a double bill of Christmas shows on tour across the UK later this year.
We will tour our brand new play, A Proper Merry Christmess, alongside Wrongsemble’s family show A Town Called Christmas, to audiences in November and December.
With the same cast appearing in both productions, it is an innovative way of pooling resources and showing that regional theatre still has an important role to play in our cultural life, bringing entertaining stories to local communities up and down the country.
Red Ladder has previously worked on co-productions with the likes of Leeds Playhouse, Liverpool’s Royal Court and Park Theatre in London, but this is the first time we have used the same cast in two different shows that are touring together.
Our artistic director, Cheryl Martin, said: “I’m delighted that Red Ladder and Wrongsemble are teaming up and showing that regional touring theatre is very much alive and kicking.
“Both theatre companies are passionate about supporting local actors and writers and bringing entertaining stories and quality shows to local audiences, which is why this partnership is a no-brainer.
“It not only shows what can be achieved when arts organisations pool their resources, it’s also an opportunity to showcase the wealth of creative talent we have here in the North.
“This is the first full production that I’ve commissioned since becoming Red Ladder’s artistic director last year which, for me, makes it even more exciting.”
Elvi Piper, Wrongsemble’s artistic director, said: “We’re absolutely thrilled to be joining forces with Red Ladder – two bold Leeds organisations teaming up to share not one, but two magical festive shows on tour in this innovative model.
“It’s an exciting moment – both productions proudly champion northern artists and voices, and together we’re proving that touring isn’t in crisis, it’s evolving. We’re finding imaginative, joyful new ways to connect with audiences right across the region – and we can’t wait!”
Red Ladder’s brand new A Proper Merry Christmess evolved from workshops with local communities involving one of the theatre company’s local venues BITMO (Belle Isle Tenant Management Organisation) and St George’s Crypt, an award-winning charity that supports homeless people in Leeds.
Written by Leeds-based Leon Fleming and Seeta Wrightson and directed by Cheryl Martin, the play is a chaotic Christmas comedy for adults set in a fictional garden centre in West Yorkshire. It’s Christmas Eve and faulty fairy lights have forced its rivals to close, meaning the local news crew and Deputy Lord Mayor are finally visiting Sutton Lane’s grotto, and the three very different people working in it.
As the manager frantically prepares for her close-up, can the grotto cast (Santa, the Elf and the Tree) salvage this “naughty but nice” Christmas for the cameras, as well as keep their own complications away from the spotlight?
Joining the tour is A Town Called Christmas, written and directed by Elvi Piper with original music by Bay Bryan and Claire O’Connor. This family-friendly show aimed at young children tells the story of Clementine who dreams of a gingerbread village where chocolate coins are currency, and laughter hangs like baubles in the air. The happiest place on Earth. Or at least it used to be.
Undeterred, Clementine, along with a cantankerous caretaker and a malfunctioning robot, sets about generating enough festive spirit to save the day and the town called Christmas.
A Proper Merry Christmess is the debut play by writer and stand-up comedian Seeta Wrightson, who was commissioned by Red Ladder after being talent-spotted during one of its free writing workshops in 2024.
Seeta said: “Writing for the stage has been a real step change from writing and performing stand-up, and it’s been a great experience. Working with Leon has been a great way to really get stuck into theatre writing as well. I can’t wait to see our story being brought to life.”
Leon Fleming, co-writer of A Proper Merry Christmess, said: “I’ve wanted to work with Red Ladder for a long time, and it’s great that I get to do that on a show that I know people are going to love. It’s full of mayhem and laughter, and everything I think we all need to counteract the sentimentality of the usual Christmas fare.”
Full tour details will be announced later this summer.
