The desire to create a world in which diversity and inclusivity is par for the course has always been a driving force for me. The world of theatre we inhabit can be educational, entertaining, magical and profound; it should be a place of equality.
It is not lost on me that throughout history, scores of brilliant women have fought hard for visibility within the modern theatre. Yet it is still an industry filled with gender bias, in which women’s voices are not fairly represented on the stages, where leadership is biased towards men, and roles throughout the industry lack gender representation. All of which has sadly been compounded by the pandemic. According to recent research, nearly two thirds of women working in theatre have thought about leaving the industry in the past two years, and 85% are worried that gender inequality will increase post-pandemic. Twice as many women as men working in the performing arts say they have changed their work role due to caring responsibilities; eight out of 10 women have been forced to turn down work due to parenting or caring responsibilities during the pandemic. These are alarming statistics. It is imperative that we do all we can to address these concerns.
Since last autumn at Norwich Theatre, our Women in Theatre season has involved a celebration of the stories, experiences and creativity of those who identify as women. Putting these female led stories front and centre is vital. They have included SIX The Musical at Norwich Theatre Royal last September, and Fantastically Great Women Who Changed the World at the Playhouse in November. Both are musicals showcasing excellent female roles and performers.
Alongside this we have been working with some brilliant females within our Artist Development program, giving time and resources to support the development of female voices and professionals in creating new theatre productions. It was a privilege to welcome Freya Catrin Smith as she worked on developing a new musical Echoes last autumn. Freya is founder of Bottle Cap Theatre, a company whose work is largely women led and focuses on stories about women. Their two most recent shows Ride and The Limit, have each focused on an extraordinary and forgotten woman from history.
I am delighted that we are celebrating International Women’s Day with one of the most talented and inspirational local theatre makers that I know. Miche Montague is an outstanding writer, director and practitioner. Her intensely honest one-woman play about family, grief and loss will be performed at Norwich Theatre Stage Two on 8 March. Miche wrote WHO the WHO, WHO during lockdown, exploring the challenges of a midlife woman. Grieving for the loss of her father and a mother in final-stage dementia, she fights to adapt to the harsh reality of her changing life. This an insightful, heart-warming and heart-breaking piece of theatre, written, performed and directed by women.
I realise that I am incredibly lucky to be a part of a theatre that proactively includes and respects women within all parts of its organisation; which provides platforms for women’s voices; and supports the development of females within the industry. Yet there is much more to do. Norwich Theatre must utilise its role within the region to platform these issues, provide entry pathways and ongoing support for women and those identifying as female to be an integral part of this industry. We are currently working on plans to provide such support in the coming year, and I look forward to sharing these.
In the words of another woman for whom I have great admiration, Erica Whyman, Acting Artistic Director of Royal Shakespeare Company, “because if we are not representing women in key creative roles in the theatre, we are either failing to reflect society or we are accurately reflecting society and either is troubling.”
Women who have influenced and inspired me throughout my career…
My own interest in theatre began at primary school. Inspired by fantastic teachers, rehearsing Charlie and the Chocolate Factory on the playing field in seemingly endless sunshine, and working together with an entire year group to create something magical. This world of performance which holds a set of keys that opens doors which are simultaneously contradictory and complimentary, and this dance between illusion and reality has fascinated me ever since.
As I reflect on my journey to today on International Women’s Day, it is perhaps no coincidence that the two teachers who encouraged my love of drama were both female. Christine Moir at primary school and Elizabeth Fereday at secondary school were both encouraging, inspirational, strong leaders who ensured that I developed not only a love of theatre, but also an almost impenetrable self-belief and the ability to believe in the impossible!
I spent university years pondering the world of the ancient Greeks where theatre was considered ‘too dangerous’ for women to participate; where even the most renowned characters such as Antigone were portrayed exclusively by male actors. Wondering why William Shakespeare created some of the most commanding female characters in history – Rosalind, Cordelia, Lady Macbeth – characters written with depth, charisma and bravery, at a time where female performers were prohibited from even playing these roles. Against these classic texts I was introduced to the work of Caryl Churchill whose plays are both gloriously entertaining and remarkably provocative, shining a light on the politics of power and of social control, with feminism a frequent pivotal issue; along with Charlotte Keatley’s bittersweet story of love, jealousy and the price of freedom in My Mother Said I Never Should, exploring the everyday relationships between women.
Since leaving university, I have encountered in some shape or form, a heady mix of outstanding females who have left their mark on my world. In my early twenties standing on the stage at the Minack Theatre, looking around in awe at this magnificent theatre perched on the rugged cliffs of South-West Cornwall – built largely thanks to the skills, determination and sheer hard work of Rowena Cade. The vision that she started with, and the belief in herself and with those she worked with is inspirational. And only added to my sometimes stubborn belief in I’m possible is just an apostrophe away from impossible.
Jenny Sealey, CEO and Artistic Director of Graeae, is an absolute force for change. I had the pleasure of meeting her very early in my career. Her tireless activism for disability rights recognises that people are fearful of difference, she places access in the centre of her work, demanding that rightfully, it becomes everyone’s responsibility. I have always been fascinated by those who have laid their professional path in theatre and challenging inequality. Kumiko Mendl, Artistic Director of New Earth is another true inspiration, making theatre led by British East and South-East Asian artists. Mendl tirelessly champions diversity and inclusion, and advocating for acceptance and belonging with such huge spirit, talent and determination.
For a time too brief, I was privileged enough to work inside prisons and with ex-offenders, utilising drama and theatre as a tool to support emotional wellbeing and rehabilitation. This experience brought to my attention the work of Jenny Hicks and Jacqueline Holborough who formed a theatre company Clean Break whilst both serving sentences in HMP Askham Grange. From a collective of ex-prisoners, the company has grown to be one of Britain’s most progressive, life-changing and ground-breaking organisations.
More recently, I watch with huge admiration, the work of Ameena Hamid, a beacon burning bright with passion and inspiration. Ameena is a theatre producer ‘by accident’ – her work focusing on putting underrepresented voices centre stage, particularly passionate about increasing inclusivity and representation in theatre – both on and off stage. She is undoubtedly a force to be reckoned with, and someone I will watch, intrigued to see her work progress.