Rugby star & change-maker, Jamie Jones-Buchanan MBE on why he loved being a Red Ladder trustee

Click on the photo to watch Jamie’s story.

Jamie with the cast of Leeds Lads

The learn all you need to know about becoming a trustee

Why Red Ladder is crucial to a thriving theatre ecology in Leeds By Leah Francis

As a freelance theatre maker, performer, and facilitator based in Leeds, I’ve known about Red Ladder for a long time. Anyone who works in theatre in the North has probably heard of Red Ladder and I’ve been lucky enough to work with them several times over the years, starting with a small part in Alice Nutter’s Where’s Vietnam? and later one of the leading roles in Leeds Lads, co-written by Anthony Clavane and Nick Stimson.

Leah with the cast of Leeds Lads

This was back when Rod Dixon was in charge and both he and Red Ladder were hugely supportive when I set up Speak Woman Speak, a theatre company that highlights the voices of women from diverse backgrounds.

Last summer I was fortunate enough to spend a bit of time shadowing Cheryl Martin during the Sanctuary rehearsals. Seeing a black female as an artistic director, a role that, let’s be honest, is normally occupied by a white male, was really empowering because it showed me that these important artistic roles in the theatre are not beyond reach.

As the artistic director of Speak Woman Speak I have only, as yet, developed small scale shows, and seeing a bigger Red Ladder production up close like this was incredibly useful – watching how they work as a team and learning about their model of working with students to help them develop, has been invaluable.

Cheryl was incredibly generous with her time, and I learned how to lead big groups of people and how to begin the initial rehearsal process with the cast. When I was studying at college and then university, I never had a woman of colour as a teacher and seeing Cheryl showed me what was possible and acted as a reminder that someone like me can do this sort of role.

Credit Marcus Lee

For theatre makers and performers in Leeds, having the opportunity to learn from and collaborate with an organisation like Red Ladder really is priceless. Could we have more collaboration between arts organisations in the city? Yes. In recent years we have seen greater pooling of resources, but I think we need to develop more symbiotic relationships because if the bigger organisations reach out to those at a grassroots level then we will have a more sustainable and thriving theatre ecology.

Young people who are interested in a career in the arts need a pathway into it, something Red Ladder helps with through its workshops and collaborations. They give a platform to diverse voices and stories that often wouldn’t be heard or told. And we need to hear both because they reflect our lives and our communities.

People working in theatre, and those just starting out, need to feel they have an opportunity to progress, they need to believe there are organisations and individuals willing to invest in them – Red Ladder does all this.

They have really helped me thrive in the theatre industry – I probably wouldn’t still be in this industry if it wasn’t for Red Ladder. They have supported my growth over the years and working with Cheryl was the icing on the cake.

Main photo credit Emily Goldie

‘My first year with Red Ladder has been uplifting and inspiring – and this is just the beginning’ – Cheryl Martin

When I took over from Rod Dixon as Red Ladder’s artistic director at the start of the year I knew it was going to be exhilarating, exciting and challenging, and boy was I right – it’s been a hell of a year… and I’ve loved it.

Moving to a new city, as anyone who’s done it will tell you, can be tough so I made sure I found time in between my busy schedules to get to know Leeds a bit and meet some of the people from other arts and culture organisations based here, which was hugely beneficial.

One of the best things I did was run a series of workshops for writers and directors during the summer. I always start with writers because they are the backbone of any production, whether it’s a musical, comedy or drama. You need good pieces and being new to the area I wanted to see what kind of writers were out there, and those I met were really good. I actually picked one of them to co-work on Red Ladder’s Christmas production for 2025 (more on this in the coming months!) because she was so good.

The workshops were full within 24 hours of being advertised which just shows that demand for this kind of thing really is there. Seeing the writers and directors working together and bouncing ideas off one another was inspiring and has fuelled my desire to do more of this kind of thing because there are so many talented people out there, they just need a platform. For me, the next step is to be able to find a way to hire some of these creatives and showcase their work because it’s important to show that you can make a sustainable living as an artist in Leeds.

Cheryl with workshop attendees.

It would be great, too, if Red Ladder could set up a partnership with a local drama school and I would love to help set up a new writing festival in the city – that would be my absolute dream.

A lot of my work this year has been looking at how we do these things with a limited budget. I think collaborations are increasingly important in the creative arts and it’s something I’m keen to embrace and looking to develop next year and beyond.

One of the benefits of having a show like Sanctuary to get stuck into was it meant I got to see and meet a lot of our audiences. This gave me a better understanding of the connection between Red Ladder and its audiences which, as I found out, is a very emotional one. I had people coming up to me saying, ‘I saw my first Red Ladder show when I was 14’ and now they’re in their 40s.

We are very good at bringing theatre to different communities and in non-traditional venues and it’s something I want to do more of, because there are some working-class groups that we perhaps haven’t been able to reach. If you want people to come and see your show then you have to show a real interest in their community.

If the workshops were a personal highlight, then so, too, was seeing Sanctuary really resonate with audiences as we took it on tour to community centres, churches and theatres. The reaction from people was incredible and seeing the standing ovations we got from the beginning of the run right to the end really made all the hard work worthwhile.

People trust us to bring them something that others don’t, so telling a story about a failed Iranian asylum seeker might seem a strange choice for a musical but everywhere we went audience members were really moved by it.

Sanctuary: L-R Emily Chattle (Fiona), CAPA College Chorus (Vox) & Aein Nasseri (Alland) credit Robling Photography

So how do I look back on my first year? Pride and joy are two words that spring to mind. Having two national touring shows – We’re Not Going Back and Sanctuary, not to mention our brilliant Red Ladder Local programme – certainly stretched our resources. But life would be boring without challenges, and being able to produce all this to such a high standard really shows what a close-knit and talented team we are.

Some people probably think that being an artistic director is glamorous and yes, it does have its moments, but there’s a lot of hard work that goes into it too. When I joined Red Ladder, my hope was to find new voices to complement the many wonderful artists we already work with. I like to think I’ve made a start there and the challenge now is to continue building on these foundations.

Main image L-R: Jennifer Pugh on guitar with Cheryl in Sanctuary rehearsals credit Robling Photography

Learning on the job is a priceless experience for young people in the world of theatre by Rosie Whelpton

I finished my production, arts and media course at CAPA College in Wakefield in June and was fortunate enough to get the chance to work with Red Ladder on its new musical Sanctuary straight away.

Though I had worked on a couple of shows previously this was my first proper professional job. The course at CAPA College taught me all about what goes on behind the scenes with a theatre production, everything from the lighting and sound to the sets and the costumes. It was great, but there’s nothing quite like working on a touring show like this, especially with one of the most respected theatre companies in the North.

I knew about Red Ladder and what a great reputation they had, so it was a bit daunting coming in and joining a big touring production like this. I was part of the production team and I was effectively the touring stage manager and sound operator. This involved things like running the rehearsals before a show and doing the sound checks, so there was a bit of everything.

It really gave me the chance to build on my technical skills. I worked closely with the technical manager Tom Blackband who showed me how you take the production side of a show on tour. For someone like me – an 18-year-old fresh out of college – to be running a room full of professional actors was just incredible. The whole Red Ladder team were incredibly supportive, not just to me but to all the CAPA students who worked on stage and off it. They really did champion us.

And I learned so much. Not only about how a stage production works but also about myself. I was thrown straight into it and very quickly I learned how to work like a professional, that’s probably the biggest takeaway. I also discovered that I work quite well under pressure which was a pleasant surprise because until you’re put in that situation you don’t really know.

There were a few problems along the way, as with any big show, and to begin with it was challenging for us younger ones because we weren’t always sure what to do when a problem came up. But you learn on the job and by the end of the tour I felt like a bit of a pro.

You learn so much when you take a production on tour – and I loved it. It was great to see how the show worked in each of the venues, especially the churches. A highlight for me was doing the show in Selby Abbey, which was simply stunning. I really enjoyed the variety of places we went to. Most of the time you either do a tour of community venues, or you go to the big theatres, so it was great to experience both.

I loved going to all the smaller venues in towns and villages because that’s where we got some of the best audiences. The Red Ladder team kept saying it’s all about bringing theatre to the communities and this is exactly what we were doing. People don’t always want to travel to their nearest big city to see a show, whereas if it’s right on their doorstep they will. I think it made a real difference that they could go and see a show like this in their local church, or the community centre where they take their kids to karate or dance classes.

Being part of the team and taking Sanctuary on tour for a couple of months was a brilliant experience for all the students. I can’t overstate just how important opportunities like this are for young people. It means that more people get an opportunity to do what they love and try it out in a professional setting. It’s so easy for young people to fall into a job, or get pushed towards something they don’t enjoy, and to have people believe in you like the Red Ladder team did with us is just amazing.

It doesn’t only build your confidence it pushes you to challenge yourself. It gives young people a platform from which they can start building their career doing something they’re really passionate about – and that’s priceless.

In my case it helped me get the job I’m currently doing. When we were at the first venue, the Theatre Royal Wakefield, I got talking to the production manager and she mentioned they needed some stage crew for their panto and I said, ‘I’ll do it.’ I’d done bits of work for other visiting productions so they knew who I was and I got offered a job there and then. I thought I would have a quiet Christmas this year but instead I went straight into rehearsals for Cinderella, and I’m loving it.

Would I have got this job without having worked on Sanctuary? Probably not, which shows just how important it is that young people from all walks of life get these opportunities because you never know where they might lead and what doors they might open.

By Rosie Whelpton

Main picture credit: Robling Photography

What I’ve learned from working with Red Ladder and why opportunities for young people in the arts are so important by Isobel Chipp

Working with Red Ladder on its latest production, Sanctuary, gifted me a pair of firsts: my first experience as an assistant director and the first time I’d been part of a professional company taking a show on tour. And I loved both!

As an 18-year-old creative fresh from finishing my drama and acting course at CAPA College in Wakefield, being given the opportunity to help shape this brilliant musical was amazing.

Though I knew a bit about directing and the role of a director, it wasn’t something I’d really considered doing because I assumed I needed to have lots of experience and a big portfolio of work before I even got close to this kind of opportunity. But from the beginning I was treated as a professional. I thought I might be seen as a student helper but Cheryl Martin, Red Ladder’s artistic director, took me under her wing and made me feel part of the decision-making process.

There’s nothing quite like learning on the job and I really was thrown in at the deep end. It was either sink or swim, which probably brought out the best in me. I was gobsmacked on the second day of rehearsals when Cheryl said, ‘could you go and direct this song?’ but it made me feel trusted. And it was great to take my family to see the show and say, ‘I directed this scene’.

Working with the company was a real eye-opener. I’ve been involved in a few productions before but I hadn’t appreciated just how much work goes into making a touring piece of theatre, from the marketing and press to the production side of things.

I learned a lot. Not just about professional theatre, but also about myself. I realised I can do a lot more under pressure than I thought I could – I never thought I’d be asked to direct a scene and be able to do it. It’s also taught me to trust the process. Sometimes we’d get a bit stuck on a scene, but it was reassuring to see that even top professionals can have slow rehearsal days. I feel I experienced the real side of theatre, not just the glossy end product that audiences get to enjoy.

There was a genuine spirit of collaboration among the cast and creative team. We all sat down in the rehearsal room and everyone had a voice. The cast brought ideas and suggestions to us, some of which were used. It’s probably why we ended up with quite a few rewrites, but I think this made the finished piece even better. It certainly helped the actors feel even more connected to their characters. It also meant the production wasn’t just Boff’s, Sarah’s, or Cheryl’s – it belonged to all of us.

Touring was good fun and another cool experience. It was great to see how the show changed from venue to venue. Seeing it at Leeds Playhouse on a big stage was a completely different vibe to when we were in some of the smaller churches. It felt like a different piece each night. The audiences were different too – the people who came to the big theatres in places like Hull, Leeds and Wakefield, were completely different to those who came to see it in a local community centre.

It’s really hard to get your foot in the door, especially here in the North, which is why I’d like to see more opportunities like this for other young creatives, because you can’t appreciate what it’s like to be part of a touring production until you experience it for yourself.

As someone who is planning to go to drama school, working with Red Ladder has been priceless. It’s given me a deeper understanding and appreciation of acting and made me more aware of the importance of characters connecting with an audience. It’s also boosted my self-confidence and improved my skills as a creator and performer.

I’m grateful, too, to have been trusted to help bring such a sensitive topic to the stage. Sanctuary tells an important story and as a team we not only had to bring the characters and the writing to life but create a piece of theatre that did justice to asylum seekers and their own remarkable stories. I really hope we achieved that.

By Isobel Chipp

Meet Janet Alexander, Red Ladder board member

Why did you join the Red Ladder board? I was involved with Red Ladder back in the 1980s when I trained and worked with the company (I was a youth worker at that time). This was the start of my career as a community theatre practitioner. I went on to study with the founder members of Red Ladder in the 90s. I have followed the company ever since so when the opportunity came up to join the board I jumped at the chance.

What is most rewarding about being a Red Ladder board member? Being part of a brilliant team of board members and staff who continuously strive for excellence. To have gained an insight and understanding into the running of the company and to be part of that dialogue. Also, the multitude of training opportunities, the high level of support and the commitment to accessibility (I am Deaf and require a BSL interpreter for meetings). Plus, you get to see Red Ladder’s awe-inspiring work into the bargain.

Why is it important that people get involved with local arts organisations? I feel it’s so important that arts organisations represent both the local as well as wider communities they serve. From grass roots up to senior management levels, it’s good practice to have representation that reflects the diversity and needs of local communities, giving voice in decision making and planning and to feel a sense of ownership and inclusion.

What advice would you give to someone considering joining a board? It takes time to get to know everyone and to get up to speed, so pace yourself, it really is worth the effort and so rewarding!

If you were describing Red Ladder to a friend, what would you say? Red Ladder is brilliant. The company has never failed to deliver truly engaging, inspirational and high-quality work that is educational and thought provoking, exploring issues and opening discussion around topics that can be difficult to address.

Which emoji would you use for Red Ladder, and why? 

This hands up emoji means people are celebrating or are excited, joyful or proud about something.

It also symbolises Deaf applause… I’m a deafie and absolutely applaud Red Ladder’s excellence, I want to express my excitement, pride, joy in the company!

If Red Ladder were a biscuit or chocolate bar, which would it be and why? It would be a delicious and nutritious organic home-made flapjack dipped in dark chocolate (vegan). An original and secret recipe that only the initiated (board members) know.

Go on, last one like this, if Red Ladder were a song, which would it be and why? We Are the Champions by Queen, Because Red Ladder champion causes and tell stories that many other more mainstream theatre companies tend to shy away from.

What’s the best, or most memorable, stage production you have seen, and what made it so special? This is a difficult one as there are quite a few. The first Red Ladder show I saw back in the 80s was memorable as I took my youth group to see it, the play was called Winners and followed the story of four young girls and their journey from leaving school. My group of teenage girls totally engaged and the impact it had on them was profound leading to much discussion and follow up work around the issues it raised. This experience kick started my career as I saw that theatre could literally change people’s lives. Apart from Red Ladder was Plague of Innocence about HIV. It totally blew me away, the style of writing and performance, very fast paced and minimalistic, had me on the edge of my seat throughout.

What’s your favourite theatre/venue and why? Red Ladder has always had a commitment to taking theatre to where their target audiences are, from the early days of street theatre and workers canteens to more recent Red Ladder Local venues. The Albion Electric Warehouse is my favourite because those productions have been so immersive that as an audience member, you truly feel part of the action.

Aliens land. Where’s the first place you would recommend they visited in Leeds and why? Probably the Leeds Playhouse as there’s so much going on, it’s a real hub and hive of activities. You can catch a show in one of the three spaces and the programming has something for everyone’s taste.

I can’t live without… Creativity and the arts are the things that I’d really struggle to live without. But let’s not forget cats…cats are important too.

Anything else you want to say? If you are seriously thinking of joining the Red Ladder Board and feel you can contribute and make a difference, then go for it. It’s a fabulous, friendly, supportive, forward-thinking and truly talented team which is so rewarding to be a part of.

If you think you would like to join Janet on our board, or you know someone who does, then please take a look at our Board Recruitment Pack. There are plain text and audio versions already available in the folder but if you require a different version to meet specific access needs or you have further questions, just give us a shout! 

Writer Chris O’Connor’s Reflection on Working in Prisons

I recently ran writing workshops in H.M.P Leeds and H.M.P Humber through Red Ladder and the National Literacy Trust as part of their work on improving inmates’ literacy skills. My sessions focused on monologues, covering aspects such as structure, the journey their character would go on and how to hook an audience’s attention.

However, I also wanted to give them some information on the benefits of writing, and hopefully inspire them to continue to do so. Stories and storytelling are not trivial hobbies, they are an essential part of being human. They are integral to who we are, and every culture has used stories to help us understand ourselves and the world.

Furthermore, there are a myriad of wellbeing benefits to writing. Many studies now back this up and show, among other benefits, that writing can help keep our brains sharp, can also help us understand ourselves better and process difficult events.

I was unsure how well I would be received in the four sessions I ran but I was genuinely moved and impressed by the writing and talent on show. There was one inmate who was sceptical but ended up writing a powerful retelling of his childhood where ‘the streets were alive with the sounds of pain’. And another wrote a very moving piece, which he could not himself read out, about a time he was assaulted, knocked unconscious and heard his mother’s voice calling his name before coming back to consciousness. His mother wasn’t there when he came around and sadly would pass away shortly after. He never got to see her again and still hears her words, believing ‘she gave her life’ for him. There was a genuine emotional silence as it was read out, with people visibly affected.

However, one inmate really stood out. He was reluctant to share, but after a bit of encouragement, he read out what is honestly one of the best pieces of spoken word I have ever heard. It was all about his inability to control his reactions in the instantaneous moment and it was raw, heartfelt and beautiful. It was a brilliant, natural talent.

A few didn’t engage, but most wanted to stay around and listen to the others share. Those who did read were willing to be vulnerable and there was a real sense of camaraderie and support as people read their stories aloud. The power of storytelling was on full display.

I made a point of speaking to all participants individually, and so many were grateful for the opportunity just to write and share their stories. These weren’t all nice, happy stories but each one was important. The realities of their lives were laid out bluntly, and plenty of remorse, anger, and pain was brimming in them. There was also a sense that these sessions were welcome breaks from the harsh realities of daily life in a prison system under immense strain, and with violence and drugs on the wings a recurring issue.

I often think of a quote from Richard Dawkins about the staggering odds of even being born and how the potential people who could have been born instead ‘outnumber the sand grains of Arabia.’ He goes on to say how among all the variations of possible people that our DNA could have produced there would have been ‘greater poets than Keats, scientists greater than Newton’ and how we ‘privileged few, who won the lottery of birth against all odds’ are the lucky ones who made it.

It gives me pause for thought to think of this and realise how amazing it is to be alive. Yet, after my experiences in the prisons, I have extended this sentiment. For those of us who won the lottery of birth, not all win the lottery of life. Many who I spoke to told me of their hard, violent childhoods and how local criminals and gangs were their only role models. This is not to excuse or justify any crimes, nor to ignore the pain of the victims of crime, but the stories they told helped explain why they ended up on the path they had.

Many of them had never really written anything before coming to prison so any natural talent for creativity may never have found an outlet. So, when Dawkins tells us of the great poets, writers and thinkers who were never born, it now also makes me think of the great poets, writers and thinkers who were born but never had a chance to express their gifts. I’m incredibly grateful to have been present when some of them did and I hope it might make a small difference in what they do upon release.

Work like this makes Red Ladder truly special, which is why I continue to be proud to be associated with the company. They make real efforts to reach out to areas of society underserved by the arts and help empower people. I am very grateful to them for the opportunity and to Ralph Dartford from the National Literacy Trust for his guidance and assistance during the sessions. This was important work, and I could tell initiatives like this make a real difference in the rehabilitation of prisoners. That is a story we should all want to hear more of.

by Chris O’Connor

Meet Fiona Gell, co-chair of Red Ladder’s board

Why did you join the Red Ladder board? I started with Red Ladder way back in 2012 as a volunteer and I’m still here today! I have a passion for Red Ladder and the work it does. I share its philosophy of community, social change and global justice.

What is most rewarding about being a Red Ladder board member? It’s the shared purpose, being able to help take the company forward and work with some great people.

Why is it important that people get involved with local arts organisations? Arts organisations, especially small scale and local ones, need all the help they can get, and volunteers are often their lifeblood. I speak as a lifelong arts volunteer. Many arts organisations would not exist without volunteer help. If that was the case just think about how much poorer a local community might be if it didn’t have the enrichment of local drama, theatre and performance opportunities.

What advice would you give to someone considering joining a board? Find your passion. One of my passions is theatre and the work RL does. I joined the Board three years ago – when the call went out for new Board members it was a no brainer. You do need to have some spare time to give to Board work so I would say have a think if that’s possible and if you do have time then don’t hesitate.

If you were describing Red Ladder to a friend, what would you say? It’s a theatre company for sure but it feels like family and where I feel like I can make a difference.

If Red Ladder were a song, which would it be and why? It might have to be Teenage Kicks – it’s punk, a classic and people still really love it.

What’s the best, or most memorable, stage production you have seen, and what made it so special? One of the most memorable productions I have seen is our production of Mother Courage to mark our 50th year. It was incredible. It was atmospheric, dark, grimy. The audience promenaded with the actors from set to set in an old warehouse. It had the fantastic Pauline McLynn as MC. It was very special.

What’s your favourite theatre/venue and why? City Varieties Music Hall in Leeds – it’s a bit of a spiritual home for Red Ladder as we’ve had many productions there in the past.

Aliens land. Where’s the first place you would recommend they visited in Leeds and why? My other passion is literature so I would send those aliens off to the Leeds Library on Commercial St. It was founded in Leeds in 1768 as a membership subscription library and it’s still going! The building is stunning too. So, literature and heritage – a perfect combination!

I can’t live without… my daily fix of chocolate!

If you think you would like to join Fiona on our board, or you know someone who does, then please take a look at our Board Recruitment Pack. This should answer most questions but if you do have more, or if you require a different version to meet specific access needs, just give us a shout! There are plain text and audio versions already available in the folder.

Join our board and help shape our future

As 2024 draws to a close, like a fish riding a particularly wonky bicycle, we look back with real satisfaction at what has been a busy year.

At the same time, we find ourselves looking forward to a new chapter in Red Ladder’s ever evolving story which brings with it some exciting new opportunities! We’re on the lookout for four talented individuals to join our existing board of trustees and help shape the company’s future.

All good things must pass (to abuse and misuse the George Harrison song) and we are saying ‘goodbye’ to three Red Ladder stalwarts – Emma McDowell, who is stepping down as co-chair, and fellow trustees Richard Lee and Craig Jefferies.

We would like to take this opportunity to say a big THANK YOU to all three for their hard work, dedication and support during their time with us, and we wish them all the best for the future.

The brilliant Dick Bonham, who has been involved with Red Ladder for more than a decade, joins Fiona Gell as co-chair of the board of trustees, which means opportunity knocks for some fresh faces to join our team.

Red Ladder is all about storytelling, people and communities and giving a platform to voices that are rarely heard, and stories that are often overlooked. We’re looking for people who share our ethos and passionately believe that theatre can make a positive difference in the world.

So if you think you fit the bill, or you know someone who does, then take a look at our Board Recruitment Pack.

There are plain text and audio versions available in the folder but if you require a different version to meet specific access needs, or you have further questions then please just give us a shout!

We’re excited to hear from you.

Team Red Ladder x

Meet the brand new cast for our musical We’re Not Going Back, touring October 2024

We have exciting news…not only is ‘We’re Not Going Back’ touring for one final time this October but joining Musical Director and original Sue, Beccy Owen, are three brand new cast members: Rachel Gay as Olive, Keeley Fitzgerald as Mary and Daisy Ann Fletcher as Isabel. 

Before you see them onstage, let’s get to know them a little better.

Rachel Gay (Olive)

Rachel is over the moon to be joining the team of ‘We’re Not Going Back’ with Red Ladder this Autumn. She believes in theatre that has the power to affirm the soul and create change.

Born in Chesterfield, raised in Bakewell, Rachel is a Derbyshire-based Actress, Singer, Facilitator, Yoga Teacher and Mum. She was an Act One Drama Studio (Sheffield) student then drama teacher from ages 13 – 31. University took her up the Pennines to Newcastle where she earned a bursary to train as an actress with Northumberland Theatre Company. Since then she has specialised in Physical and Devised Theatre, later training at Arthaus Berlin.

She joined the previous ‘We’re Not Going Back’ cast earlier this year as understudy and fell in the love with the production. She worked with Beccy Owen on one of her first professional theatre tours back in 2011 and is overjoyed to share a stage with Beccy and the rest of the cast.

Theatre credits include: The Noise (UK Tour/Unlimited Theatre), Marina Abramovic Retrospective: Luminosity (Manchester Art Gallery), Sense (UK Tour, Level Centre), White Peacock, Rapunzel (UK Tour, Nottingham Playhouse), We’re Going on a Bear Hunt (International Tour/Kenny Wax Productions), Do Not Enter the Monster Zoo, The Worst Princess (UK Tour/New Writing North), TV credits include: Coronation Street, Emmerdale.

Keeley Fitzgerald (Mary) credit Yellow Belly

Keeley is massively excited to be part of the ‘We’re Not Going Back’ team and feels privileged and proud to be a working class actor exploring such important parts of history with Red Ladder.

Keeley trained in Salford and graduated with a First-Class Honours Degree in Performing Arts as well as attending night time TV acting classes at MSA and Act4TV.

Recent Theatre includes: Conscious Uncoupling (JB Shorts) and Romeo & Juliet (Storehouse Live).

Recent Television includes: The Full Monty (Disney+), Doctors (BBC)

Daisy Ann Fletcher (Isabel) credit Tom Milligan

Main image description: The lower half of three women dressed in 1980s clothes holding a placard and megaphone. Text: We’re Not Going Back New cast announcement Keeley Fitzgerald (Mary), Rachel Gay (Olive) Daisy Ann Fletcher (Isabel) Final Tour – October 2024 Book now: redladder.co.uk