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

CAPA College students discuss what they’re learning from their time on ‘Sanctuary’ about working in theatre

Isobel Chipp, 18, assistant director

Isobel Chipp credit Robling Photography

What has it been like working on Sanctuary? “It’s been brilliant because I’m normally on the acting side of things, so to have my first opportunity to help direct something straight from college is really great. It’s been so beneficial to see how the other side of theatre works. It’s a brilliant first project to work on – it’s got such a great group of people, and has such a strong message. It’s just been really educational.”

What have you learned? “In my first week Cheryl gave me the chance to do some directing which I’d never done and it was a bit daunting, but it was also really good because that’s how you learn. I got good feedback from the direction I’d given them and that was really affirmative because you think ‘yes, I can do this.’ So that was a real confidence boost.”

Has this experience changed what you might want to do in this industry? “It’s shown me that acting is what I love and want to do. It’s also given me an appreciation that directing and writing is something I’d like to go into in the future. I think it has made me love acting even more, because I’m learning how to act better by telling actors how to do things differently.”

What have you gained from working on a professional production like this and collaborating with a theatre company like Red Ladder? “It’s given me confidence when it comes to the next opportunities because I’ll have this under my belt. Also just seeing the inner workings of a theatre company. I’d seen pieces by Red Ladder before doing this and I always thought ‘wow, it looks so cool and polished.’ And now I’ve seen it in the beginning when it’s not polished and you see how it gets to that finished stage. It’s made me really trust the process of what I’m doing.”

Zac Worstenholme, 17, company manager

Zac Worstenholme

What has it been like working on Sanctuary? “It’s been really good for me because I’m just going into my second year at college and I’ve found a real love for the production side of theatre. When I was given this opportunity I couldn’t have been more thankful because it’s just what I need to get a real insight into the industry. It’s a privilege to not only be involved in a musical but the first works of a musical where the scripts are being edited and it’s nice to experience that.”

What have you learned? “I’ve learned a lot. I don’t think I realised how much a company manager has to deal with, from printing the scripts off and helping out with social media to taking loads of rehearsal shots and making sure all the cast is there on time and that they’re all ok.”

How has it changed your perceptions of what’s involved in putting a production like this together? “I don’t think people realise how much work goes into something like this. There’s a lot more to the offstage roles than I think I’d realised.”

Has it changed what you might want to do in this industry? “From a young age I wanted to act and be a musical theatre performer, but during these past few weeks it’s made me love being a company manager and I think it’s what I’ve got my mind set on now. I really believe this is what I want to do when I leave college.”

What have you gained from working on a professional production like this and collaborating with a theatre company like Red Ladder? “It’s made me feel like I’ll be in a good position afterwards. Red Ladder’s really well respected and to have a company like them, and a show like Sanctuary, on your CV at just 17 years old is a really big step.”

Ellie Klemm, 17, Sanctuary chorus member

Ellie Klemm credit Robling Photography

What’s it like being part of this production? “It’s been really good. I haven’t worked with a professional company before so it’s been really interesting to see how they work and what’s expected of us. There are high expectations of us in college but I didn’t think going into year two at college we’d be doing something like this.”

Getting to go on tour must be very exciting? “A lot of us are quite experienced and we’ve done a lot of shows and performances since we were little, but going on a tour is something very different and going to all these different venues and theatres is really exciting for all of us.”

What are you most excited about? “I’m looking forward to being able to experience places in the UK that we haven’t been to. Me and Matilda live near Huddersfield so the LBT (Lawrence Batley Theatre) is our theatre, it’s where we grew up and we’ve done so many shows there when we were little, so it’s really exciting to be going on tour near where we live.”

What have you learned from an acting point of view? “It’s been really good for our acting skills because the script’s been in development. I’ve never done a show where the script is subject to change. Normally you have a script and learn your lines and that’s what you do. But here, the actors have asked questions about some of the lines and sometimes it might get cut because the actor has said ‘I don’t think my character would say this.’ I didn’t think you could do that with a script and it’s teaching us to speak up if we have something to say about our character. I think we’ve learned that we can use our voice.”

How has it changed your perception of working in the theatre industry? “I grew up doing shows and theatre so it’s always been a dream to do it professionally and now it’s becoming a reality. This has given me a taste of it and made me want to do it even more.”

Matilda Simons, 17, Sanctuary chorus member

Matilda Simons credit Robling Photography

What’s it like being part of this production? “We get a call sheet each night to see what we’re doing the next day. It’s very structured so we can prepare ourselves well for the next day. We might be doing a lot of movement work so you can check the call sheet and you know what you’re going into the next day.”

Getting to go on tour must be very exciting? “It’s really exciting and being able to say ‘I’ve performed at Hull Truck’ is just mad. I never thought I’d get to say that.”

What have you learned from an acting point of view and has it changed your perception of what’s involved? “Being part of this production we’ve seen how professional actors interact with directors and stage managers. Some of the actors ask questions about the motivations of their character, while others focus more on the feelings of their character. So it’s been really interesting to see these different approaches.”

How has it changed your perception of working in the theatre industry? “It’s definitely still made me want to be a performer. I want to do musical theatre and it’s made me lean into my acting more. It’s also made us respect the behind the scenes roles more.”

Eloise Degenhart, 17, Sanctuary chorus member

Eloise Degenhart credit Robling Photography

What has it been like being part of this production? “Because we’re at an arts college we’re used to being part of a show but not really creating the show, the ins and outs of the script and the songs. The fact we’ve been able to say things like ‘this harmony might be better for this song’, that’s quite cool – to feel like you’re part of the creative process. Coming into this I thought it would be very strict but they have a laugh and they know when to be serious. It’s calmed my nerves about going into the industry.”

What have you learned about acting? “We’re working with professional actors who have gone through all the years of training and seeing how they work together and figure things out, like changing the script, has been really interesting. Seeing how connected they are to their character and what their character would say has been really cool to see.”

Has this experience made you want to be an actor even more? “It’s made me realise I can just be myself and I don’t have to put on this façade. I can have a laugh but also get my work done. I’m proud of myself but also so grateful for the opportunity. I mean how many 17-year-olds get to go on tour!”

Erin Hall, 17, Sanctuary chorus member

Erin Hall credit Robing Photography

What has it been like being part of this production? “It’s an original musical and we’re building it together, so it feels really cool to be part of that. It feels like you’re always involved in some way.”

What have you learned about acting? “I’ve never been involved in a professional production before so seeing how the main cast do it has been really helpful.”

Has this experience made you want to be an actor even more? “I definitely know that I want to perform and this has helped me a lot to realise this. You get to see the whole process and you’re always learning something new.”

Main image: CAPA students as Vox in Sanctuary rehearsals credit Robling

Sanctuary opens at Theatre Royal Wakefield on Thursday 19th September before touring to theatres and Red Ladder Local venues book here! 

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‘This organisation is funded by Leeds City Council through the Leeds Cultural Investment Programme.’

Opportunity knocks for talented young creatives by CAPA College’s Artistic Development Manager, Stacey Johnstone

In the past, students like ours at CAPA College would have been able to hone their craft by joining a repertory theatre. But Rep theatre doesn’t really exist anymore in this country, which is why partnering with a pioneering theatre company like Red Ladder is such a fantastic experience for our young students to apply and develop their current training.

Working with Red Ladder gives them a chance to see the many stages of conceiving, developing and then touring a production. The relationship developed after programming My Voice Was Heard But It Was Ignored, a powerful play by Nana-Kofi Kufour. We were then part of the performance pitch at the Venues North event in Sheffield last year for Sanctuary. Rehearsing a short extract of the vision to be presented to the region’s gatekeepers not only gave the students a different type of performance opportunity but was their first experience of talking with venue producers and chief executives – as well as sharing a platform with talented and dedicated professional theatre makers. It was an insight into the work being created in the region and the importance of being able to professionally network with people.

It was a bit of a eureka moment for our students because it gave them an understanding of the whole creative process, one based around building relationships, collaboration and mutual respect. It also showed them what theatre can be, that it isn’t something only created by people in ivory towers, but ordinary people who look and sound like them.

When Mafwa Theatre and Red Ladder came in to develop workshops which our students then went out to facilitate in local schools, as part of the next stage of Sanctuary, one of our Muslim students really came into her own. Her family understands the complexities of being a refugee and seeking asylum in a foreign country and she made sure her voice was heard within the context of the work. Being part of the creative process not only boosts their self-confidence, but it also gives them space to explore sensitive and sometimes controversial topics safely with facilitators/creatives with lived experiences that reflect their own.

Vox credit Robling Photography

This autumn some of our students, most of whom will be 17 or 18, will be playing the chorus in Sanctuary and going out on tour to venues across the North of England. How many young theatre and drama students get the opportunity to work with such a renowned theatre company like Red Ladder? It really is priceless. They get to see the reality of what it takes to create a new piece of theatre. A lot of young people only see the end-product on stage, they don’t see the process of getting there, all the hard work – the partnerships and collaborations, funding meetings, networking, tour organising and planning – that goes into getting something on the stage in front of an audience.

That’s why our collaboration with Red Ladder is so important and not some box-ticking exercise. It gives our students the chance to work with brilliant artistic directors like Cheryl Martin, and talented writers like Boff Whalley and Sarah Woods. It also gives them an insight into the business aspects of running a theatre which they need to understand if they’re going to pursue a career in the arts.

With all the well-publicised arts funding cuts there are fewer and fewer opportunities for young people to get a foot in the door, which is why partnerships like this have never been more important. It’s crucial that local and regional theatre companies still exist in the future so that when students across Yorkshire and the North graduate from colleges, universities and conservatories, they actually have jobs and apprenticeships to go to, because if they don’t then we’re going to lose those career paths for our young people.

A lot of our students come from some of the poorest economic areas so for them to have the chance to share the same space as key creatives is something to champion and cherish. We hear politicians talk a lot about levelling up. Well, this is levelling up in action.

Thanks to partnerships like this one with Red Ladder, our students will have the confidence to go into rooms and speak to these artistic leaders without feeling like they are imposters. Hopefully, they will also realise that the theatre is a place for them, that there are still opportunities out there to forge a career in the creative industries but also that they are well-informed in what it realistically takes to develop their own creative practice.

By Stacey Johnstone, Artistic Development Manager at CAPA College, Wakefield

Main image CAPA students: Vox, Sophie Russell & Ella Watson (movement) credit Robling Photography

Sanctuary opens at Theatre Royal Wakefield on Thursday 19th September before touring to theatres and Red Ladder Local venues book here! 

Cheryl Martin talks about the issues tackled in the musical, the impact theatre can have and the importance of supporting local arts organisations.

Sanctuary is your first Red Ladder show as director. How did it come about?

Work started on it last year before I arrived, but in a previous role I worked for about eight years with mostly women asylum seekers and refugees creating big community shows in Manchester. So while I didn’t choose this play, if I could have chosen a topic this is one I would have gone for because it’s something I think is very important.

What are the key issues explored in Sanctuary and why are they important?

I think what’s important is the distance between who the asylum seekers and refugees actually are and who people think they are, based on what they read about them. A lot of the people I worked with were doctors, teachers, or chemists, all very highly skilled. Most of them were forced to flee because they stood up for someone in their country of origin, or they’d stuck their neck out for free speech, or women’s rights. People are running from places like Iran and Syria for these reasons which makes them heroes in my eyes. They go through so much and they come to countries like ours because they think it’s a safe haven. So this production is about sanctuary and what sort of country we want to be.

Asylum seekers and refugees are unlikely topics for a musical to tackle don’t you think?

It’s a different kind of musical. It’s not like Mary Poppins! It’s set in a C of E church but that doesn’t mean it’s church music. The music is from the heart so it’s very emotional, and we hope people leave feeling moved by it because though it’s a story it’s also a reflection of real lives.

This is your first production since you became Red Ladder’s artistic director. What are you most looking forward to?

I’m really looking forward to taking it from page to stage and having real voices and real characters. We’re working with CAPA College in Wakefield whose students make up our chorus. The students are only 16 or 17 and I’ve been blown away seeing how good they are in the workshops. I was nowhere near this good when I was their age. So I’m really excited to be working with them. I’m also looking forward to working with the cast. As a director I never tell actors what to do. I start by asking them what they see in the character and build on that. I can’t wait to see what they bring. The biggest buzz is when the actors go beyond you as a director and their performance just takes off. I’m also excited to see how audiences respond to the story and the characters.

You’re working with Boff Whalley and Sarah Woods who have written Sanctuary. What’s it like collaborating on a project like this?

I love collaborating on productions. I think the songs will have a really big impact and I feel very lucky to be working with Boff and Sarah. I’m very pleased to have inherited this play.

What made you want to join Red Ladder and why do you believe you’re a good fit for one another?

When I saw the advert I was like ‘oh my God. I can’t believe this job even exists.’ I’ve done a lot of community work and I was at Contact Theatre in Manchester when John McGrath was running it and bringing in a lot of people who hadn’t been to the theatre before. We were a non-traditional theatre, we had DJs, poets and novelists and encouraged this idea of doing any kind of performance anywhere and that kind of freedom is hard to come by. I also co-founded Black Gold Arts, a black, queer, performance-positive arts company, and that was about platforming people who don’t normally get that opportunity. Our role was to find new talent and give them the platform to start their careers. So when the job with Red Ladder came up I couldn’t believe my luck because there aren’t many places like this.

You’ve mentioned that students from CAPA College are providing the chorus for the show. What difference do these collaborations with local arts organisations and colleges make?

The beating heart of our theatre company is Red Ladder Local, which is all about working in non-traditional theatre spaces and reaching people who don’t normally go to a traditional theatre. I’ve been to a few of these performances and the connection you get with the audiences for the shows is so intense and so different from what you normally get. Our shows wouldn’t be the same without the collaborations we do with the likes of CAPA. And for these young people it’s such a priceless experience because they come out on the road with us. We’re helping them by giving them a real world experience and they’re helping us by enabling us to expand what we’re able to do with this play. We’ve all read a lot lately about arts funding cuts so being able to help a group of young people get theatre experience like this is crucial. Collaborations like this are at the heart of what we do and I’m delighted we’re able to do that with this show.

Why is it important that stories like Sanctuary are told?

We’ve all seen the headlines about immigration and asylum seekers and in an election year it really does become a political football.  And this year we’ve seen the horror of what happens when people lose sight of our common humanity.  This show included an attack on an asylum-seeker for all the 18 months of its development, and now sadly we’ve seen it across the country.

Theatre is an antidote to that, it’s about what it’s like to be human and that’s what this story is talking about – it’s more than just a newspaper headline or a video on YouTube.

There’s also more than one point of view.  I want this show to reach as many people as possible.  After the far-right violence, our story feels more urgent. There are characters in the play who are very anti-immigration and some whose parents travelled to the UK but who feel this new wave of immigrants are breaking the rules. So it’s not a simple, one-dimensional way of looking at things, it’s much more rounded that. Good drama makes human stories feel very real and highlights our shared humanity. That’s what I’m hoping Sanctuary can do.

Award-winning playwright, campaigner and co-creator of ‘Sanctuary’ Sarah Woods discusses the origins of the musical, the importance of artistic collaboration, and why theatre can help tackle serious subjects.

Where did the idea for Sanctuary come from?

Boff and I have been collaborating for a while now. We’ve done quite a lot of work co-creating community pieces, largely for Welsh National Opera, with people seeking refuge and asylum, and this was a story that we came to over a number of years.

We also set up an organisation called Artists in Exile, a not-for-profit group which supports artists who want to come to the UK because they can’t stay in their own country. So we have a lot of experience of working closely with people in this area. There’s a dominant narrative, not just in this country, that immigration is going up and that’s why people can’t get a doctor’s appointment or a job, and that’s not the truth of the situation. So we wanted to counter this in a way that draws out the different viewpoints and lays them out to the audience through the story of an individual.

Why did you decide to tell this story as a musical rather than say a drama?

The ability for a character to express themselves in music enables us to move beyond the everyday. At its heart it’s a way for people to communicate deep and profound emotions and tell a story with real immediacy. It’s not agitprop, or polemic, we want to invite the audience in and to think about other people’s lived experiences.

How and why did you start collaborating with Boff?

It was about six years ago. I was writing a musical called The Ruff Tuff Cream Puff Estate Agency and me and Adrian Jackson [the director] came across Boff’s work at the funeral of Heathcote Williams, who wrote the original work the musical was based on, and a song that Boff had written for him was played at the end and we were just blown away by it. So we got in touch with Boff and arranged to meet up. We talked to him about the possibility of him being the composer on Ruff Tuff and he said ‘yes’ – and we’ve worked together consistently ever since on a wide variety of projects.

This is the first time you have worked with Red Ladder. What was the appeal in working with the company?

I’ve known about Red Ladder’s work for decades and Rod Dixon, the previous artistic director, knew of my work too. We probably should have done stuff together years ago but just didn’t get round to it. So now that it’s happening it feels like a very natural meeting of hearts and minds.

How different is it collaborating with someone on a project compared to writing a play, or musical, on your own?

I really enjoy collaborating not only with Boff but also co-creating with communities. It’s a fantastic experience. For Boff and I, it enables us to travel through the whole process with somebody else, which gives you a huge amount of support, not just practically in terms of not being on your own, but also imaginatively and creatively we’re able to push each further which helps us take more creative risks. I feel we become more than the sum of our parts.

What are the challenges in writing a musical compared to a play or a radio drama?

With a musical you’re always thinking about what different jobs the songs are going to do. You’re not reliant on the dramatic dialogue for the whole of the story. When you work in different mediums like I do it’s about remembering to let the songs do the work, because you want the music and songs to do all the key jobs of a classic narrative like revealing the characters, moving the plot forward and telling the story.

How important is drama, whether it’s a play, a novel, or a musical, in tackling serious subjects?

It’s really important, particularly right now, at a time of enormous cultural shift and evolution. The narrative arts do two things – they show us where we are, like Hamlet’s mirror, holding a mirror up to society. And they also have the ability to make clear what we might do next, to inspire us to take action. As human beings, our emotions lead our decision making and we have a huge capacity for empathetic connection – and I think stories can help us with both of these things.

Are there underlying themes that connect your work?

All of my work uses stories for social good, to enable us to locate ourselves and to consider what we might do about where we are. I work around what I think are some of the big challenges we have right now, so lots of work around climate change, environmental degradation and the increasing inequalities in the world.

What do you hope audiences take away from watching Sanctuary?

I hope that people understand a little bit more about the hostile environment we have created in this country for people who are really just seeking safety and asylum. And to understand the extent of the hostility and the way some far right groups are fuelling really pernicious and false narratives. A lot of the artists Boff and I have supported, similar to Alland the lead character in this musical, were forced to leave their country because they stood up for what they believed in. They’ve done things that many of us might not have the bravery to do and these are people who we can learn a lot from.

By Chris Bond

Main image L-R Boff Whalley & Sarah Woods credit Ant Robling

Sanctuary opens at Theatre Royal Wakefield on Thursday 19th September before touring to theatres and Red Ladder Local venues book here!