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When accomplished professionals implore you to be brave and keep going, it gives you hope that you’re not totally deluded and irrational to have dreams and aspirations!

On Thursday we were extremely fortunate to meet yet another crucial cog in the well-oiled theatrical machine that is the Theatre Royal Plymouth (TRP).  As a producing theatre that supports the production of new, innovative plays, it’s become apparent during our time on the Bloggers & Critics Scheme just how socially conscious and forwarded thinking TRP actually is.

So when we met with Hugh Borthwick, TRP’s Production Manager, it was a real opportunity to find out more about the work that goes on behind the scenes to bring such an action-packed calendar of events and creative opportunities for new and emerging artists, as well as established shows and world-wide sensations to life.

Confident and self-assured, Hugh projected an image of a calm, controlled and articulate man who’s both modest and sure of himself, yet someone you probably wouldn’t want to mess with! Unlike other people we have had workshops with over recent months, he greeted us with no plan or preconceived agenda. He kept the session open for free-flowing discussion and made sure to answer our, (my) sometimes nosey and dirt-digging, questions with openness and professionalism.

Discussing a range of topics from what the day-to-day life of a Production Manager actually looks like, to the controversial history of TRP’s journey in Plymouth since its birth in 1982, and what makes working in the industry challenging and rewarding, Hugh even managed to segway politics and topical social issues seamlessly into the conversation at crucial moments; although that’s not necessarily hard in our current climate, I guess.

Leaving personal opinions aside about particular shows, Hugh wasn’t shy in coming forward regarding what evokes pride and keeps him motivated, alongside what he finds most challenging about the delicate balancing act in a sometimes fraught environment that is a live production setting, especially when you have so many cooks simultaneously baking cakes over various platforms.

Hugh clearly works hard, often long hours, and is a very respected member of the team who strives for excellence. Highlighting what motivates him personally, and the theatre in a wider context, it’s clear that there’s a conscious push towards community engagement, which was also highlighted during our last workshop with Ben Lyon-Ross, TRP’s Talent Development Producer. It may not be immediately obvious or apparent to someone merely glimpsing aspects of the theatre’s work from the outside, but TRP actively involves and collaborates with a wide and diverse spectrum of the community making creativity increasingly accessible to ‘everyday’ people, whilst supporting emerging creative talent that bring thought-provoking and wildly original content to Plymouth, who then often successfully take this further afield.

It has been a privilege to meet a mere handful of the people involved in some of this groundbreaking work, and, what I will remember most and take away with me from the hour we spent in Hugh’s company was his message to keep going, to be brave and bold, to push for what we believe in, and to strive to make things better in whatever form that may take for us.

So thank you, Hugh. I will aim to do just that.

The search is about to begin to find 16 local children who will play alongside Brian Conley, in this year’s Theatre Royal Plymouth pantomime, Cinderella. The chosen children will form two teams of 8, who will then perform on alternate days.

Auditions will take place at the Theatre Royal Plymouth’s Production and Learning centre, TR2, 12 Neptune Park, Plymouth, PL1 0SJ, on Sunday 27 October with registration taking place between 9.30-10.00am

These auditions are ONLY for children who can meet the following requirements:

• Team members must be of Key Stage 2 age (Currently in year 3/ 4/ 5/ 6 at Primary School)
• Team members must be no taller than 4 feet 6 inches with competent skills in modern dance. Suitable applicants will be measured (bare feet) before auditioning.
• Team members must be available for rehearsals on Sunday 10th November, Sunday 24th November and Sunday 8th December and then from Sunday 15th December until Saturday 18th January 2020.
• Team members must be able travel to the Theatre Royal Plymouth within 30 minutes of being called.
• Team members must be accompanied at the audition by a parent/ guardian who must be prepared to stay for the entire day.

Suitable applicants need to register in the reception area of TR2 between 9.30-10am on Sunday 27 October 2019.

Please bring plenty of food and drink as there will be limited refreshment facilities available.

Cinderella runs at the Theatre Royal Plymouth from Friday 20 December 2019 to Saturday 18 January 2020.

Tickets are priced from £13 and can be booked online here or by calling the Theatre Royal Plymouth Box Office on 01752 267222.

For further information on the pantomime babes auditions, please contact Engagement and Learning on 01752 230379.

Everyman Theatre, Liverpool. Tuesday 3rd September 2019.

A fantastic day at the conference of recovery through arts,
Listening to stories, real people fresh starts,
Journeys of learning techniques and new skills,
No longer addicted to needles or pills,
Physical dance, humour and song, poetry, writing is where we belong,
Taking our trauma, abuse and bad luck.

Creating real theatre from the ground up,
Our stories are raw ‘coz we speak the truth,
Serious emotions shot through the roof,
You are what you hide and we hide it no more,
Compulsive behaviours are channelled with awe
but beware of the illusion that twelve weeks can fix,
You can’t always cure the cough with old Tixylix.

Remember we’re vulnerable and will be for years,
Haven’t dealt with half of the stuff that brought us to tears.
Facing our lives again with all of its strain,
Self-harming and medicating no longer to blame,
If left all alone our minds become dark
The voices appear creating a spark,
This spark is enough to start a small fire, a craving or burning unwanted desire.

We need structure, support, a weekly check-in,
a network of friends for love to sink in,
a purpose, a reason and somewhere to go
Our minds become young ourselves we don’t know,
I call it rebirth because old habits must die,
Reprogram the brain,
Release the new I.

Having been involved in productions at the theatre in my younger years I was always interested in how costumes are designed and made, how quick changes happen so seamlessly and how wigs, hair and make-up are all pulled together for the final look, so I jumped at the chance to have a nose around the wardrobe department at TRP.

Delia Lancaster, Wardrobe Manager, started our tour by showing us some beautifully drawn costume designs for the Young Company production ‘Influence’. It is part of her job to source the costumes from the designers’ inspiration. This can involve making, buying and borrowing to make sure the look is as it should be. I was very impressed by what can be achieved with a very small budget. Delia really knows her stuff.

The next stop on the tour was an area with a large wooden box. Delia explained that when there is a touring show who provide much of their own costumes, this is how they arrive at the theatre. With a quick flick of the hinge the clothes were exposed on a rail and ready to be worn by the actors. It was at this point that Delia showed us a costume worn by a man that is used for a quick change. She explained how the dress was constructed to make the quick change as swift and seamless as possible. “Lentils make a really good bosom” was the gem of a quote Delia gave at this point and sure enough the whole chest area of the dress was filled with lentils! Not quite what I expected to hear however, it gave me an insight into some of the hacks the wardrobe team have to come up with to make costumes as realistic as possible.

Next, we were on to the huge expanse of the wardrobe store. What an impressive room with rows upon rows of clothes, shoes, hats and accessories. I have to say I was slightly overwhelmed with the enormity of stock and found myself wondering how on earth they find anything in there. But, on closer inspection I find that all clothes are meticulously sorted into item, size, colour etc so once you know your way around as Delia does, probably with her eyes closed, it wouldn’t be a problem.  Not even a brief conversation about Poldark could sway Delia from her passion. She is only interested in the costumes when she watches it unlike the rest of us!

Delia gave us an insight into make-up and wigs and we got the chance to have a go at fake embroidery. The wardrobe team really have to be able to turn their hand to anything to be able to achieve the costume they want.

Delia’s passion for all this wardrobe is glaringly evident, from the way she lovingly describes an item to her work ethic and dedication to her job. We even had the opportunity to reminisce from when she dressed me in a number of Young Company productions back in the mid 1990’s so this was a fantastic experience for me.

Tucked away in fairly unassuming corner of Plymouth lies the Theatre Royal Plymouth’s TR2 workshop. Somewhere between Santa’s workshop and Hogwarts, we were lucky enough to gain an insight into the ‘behind the scenes’ magic that goes in to making many of the sets for your favorite performances. If, like me, your Hogwarts letter was lost in the post, this may just be the next best thing.

Perhaps rather unusually, just before the actors appear on stage is always one of my favorite moments of any performance. There is just something in that brief window as the house lights descend and audience’s murmurs fade in to a milky nothingness that is so tantalizing. When it seems like it is just you and the stage, set ready for an evening of possibilities. It is always at this point, before my thoughts are stolen away by the performance, that I wonder about the work that goes in to making the set in front of me.

But just what goes in to making a set? I must admit I had very little idea before this workshop tour. I say ‘workshop’ loosely as stepping in to TR2 you cross in to a dizzying airplane style hanger, a room that is part Hollywood studio, part Hogwarts Great Hall, complete with almost living portraits and art, and part Santa’s elves workshop. It certainly has a TARDIS ‘bigger on the inside’ joy to it.

On hand to guide us through is Brendan (Head of Manufacturing), our very own young Dumbledore, albeit with less beard, and perhaps even more knowledge about the workings of this hidden realm.

The talents of the makers and craftsmen are clear from the moment we step through the door. In front of us lies a plethora of pieces of art. From intricate honeycomb stairs for an upcoming production, to a spray-paint mural the size of a semi-detached house, this is a kind of living museum of modern making. The design and craftsmanship on display here at TR2 certainly put my weekend struggles with IKEA furniture assembly firmly in to perspective. For those that love a trip to a DIY store will find themselves in heaven amongst the ingenious pieces of staging across the workshop.

During our tour we stumble across Anna, an old friend of mine, who also holds a Master’s degree in Contemporary Art Practice, who seems to symbolize TR2 as a place both of community and excellence. Brendan tells us that all the makers here ‘have a go’ at all aspects of construction. This is place where photographers are soldering and carpenters are welding, a real community of construction.

Unknown to me, TR2 doesn’t just build staging for the Theatre Royal Plymouth, but for Theatre’s up and down the country, demonstrating the talent, expertise, and dedication that make up the team. I was surprised to see a larger than life portrait of Sir Ian McKellen adoring the walls here for an upcoming West-End production of King Lear currently being worked on at TR2. Despite McKellen infamous ‘You Shall Not Pass!’ ringing in my ears, this really is a place where everyone is welcome.

Next up was our chance to get stuck in and have a go. Despite being worried about my lack of artistic ability, team member Dan was on hand to help. We were allowed to program and play with the workshop’s CNC Machine, a giant woodcutting machine protected by lasers. Yes Lasers. It doesn’t get much cooler than this kids. With thoughts myself as a cross between James Bond and Nick Knowles of DIY SOS firmly behind me, we each manage to draw and cut a nameplate with relative ease. The chance to play with some grown-up toys is definitely a highlight of the visit.

From cutting edge design to the actual cutting edges of the CNC machine, both young and old can relish in some artistic amazement on this tour. From sets, to props and costumes TR2 is probably still one of Plymouth’s best-kept secrets. So if you feel like your seat on the Hogwarts Express is dwindling away, there is still magic close at hand. Just remember, no muggles allowed.

We are excited to announce our new year of work with both nationally and internationally recognised theatre companies. Some of the key highlights are below:

This Land a major new work of international community theatre performed by citizens of Plymouth and members of the Wampanoag tribe from Massachusetts USA, directed by Alan Lane, text by Nick Stimson and songs written and performed by Seth Lakeman. Performed as part of Plymouth’s Mayflower 400 programme for 2020 (June 2020).

One Under by award-winning playwright Winsome Pinnock, in collaboration with Graeae Theatre Company, directed by Amit Sharma (October 2019).

CITIZEN a living breathing portrait of Plymouth devised by TRP’s People’s Company, directed by Lucy Hirst (July 2019).

Lucy also directs Influence, a TRP Young Company production, written by Andy McGregor (August 2019).

The world premiere of I Think We Are Alone a new co-production with Frantic Assembly and Curve. Written by Sally Abbott and co-directed by Kathy Burke and Scott Graham (January 2020).

The UK premiere of Amsterdam, a new co-production with ATC and Orange Tree. Written by award-winning Israeli playwright Maya Arad Yasur and directed by Matthew Xia (February 2020).

Are we not drawn onward to new erA co-produced with Ontroerend Goed, playing Edinburgh Festival Fringe 2019.

2000 Stories: Now I Can Speak by Plymouth based performance company Beyond Face, directed by Alix Harris, supported by TRP (June 2019).

The world premiere of The Strange Tale of Charlie Chaplin and Stan Laurel, a Theatre Royal Plymouth and Told by an Idiot production with Royal & Derngate Northampton and Unity Theatre, Liverpool, created by Told by an Idiot, written and directed by Paul Hunter with additional material by members of the Company. Cast includes Amalia Vitale as Charlie Chaplin, with music played live on stage composed by MOBO Award winner Zoe Rahman (November 2019, ahead of a tour).

The Ladder in association with Shôn Dale Jones/Hoipolloi (September 2019).

Funky Llama Festival, TRP’s all-inclusive flagship festival showcasing the talent of local and national disabled and non-disabled artists (June 2019).

Unsung by Valentijn Dhaenens with Big In Belgium and Richard Jordan (September 2019).

Platform, a brand new event showcasing four new shows made by TRP Lab Associates Chris White, The Narwhal Ensemble, Jane Spurr and Beyond Face. TRP’s Lab Associate scheme offers South West artists a year long attachment to TRP (August 2019).

In The Lab, TRP’s experimental studio space, new work from local artists Ruth Mitchell, Colin Davey, Alexander Rhodes and The Lab Company. The Lab Company supports the development of Early Career Artists based in the South West (July 2019).

Join Dance Consortium in association with The Space as they present a masterclass from the internationally-renowned Alvin Ailey American Dance Theatre. Livestreamed from Sadler’s Wells on Facebook and Twitter, the class will begin at 2pm BST on Friday 13th September.

Join Dance Consortium as they share a class led by Matthew Rushing, Rehearsal Director for the Ailey company and company dancers, as they work with participants on stage at Sadler’s Wells. You’re invited to take part in the class and learn from home as they demonstrate selected choreography from their piece ‘Lazarus’ by Rennie Harris and answer audience questions.

The livestream, hosted by Hakeem Onibudo, will last for approximately an hour total, and will consist of 40–45 minutes of instruction followed by a 15–20 minute live question and answer period. This will be your chance to ask a question through the livestream on social media and hear it answered on air!

You can watch the masterclass live from Theatre Royal Plymouth’s Facebook page on Friday 13th September.

Theatre Royal Plymouth has today announced it is a Real Living Wage employer that means staff will now earn a minimum of £9 an hour instead of the National Living Wage of £8.21.

The Real Living Wage is the only rate based on the actual costs of living and is a voluntary benchmark for employers that want to ensure their staff earn a wage they can live on, not just the government minimum.

The uplift will effect around 75% of the Theatre’s staff and has taken 18 months to negotiate.

Adrian Vinken, TRP’s Chief Executive said “Plymouth is experiencing a fantastic period of change and economic growth and it’s really important that all of our City’s communities benefit from that. Paying the Real Living Wage is one way to do that. For TRP it’s recognition of the value our staff create – without whom we could not do what we do, as well as we do it. As a flagship employer in Plymouth and a leader in the creative sector we believe it’s an important change to make – and one that we hope inspires other organisations”.

Following agreement from the Theatre’s Trustees to work towards becoming a Real Living Wage employer, TRP worked with BECTU  (Broadcasting, Entertainment, Communications and Theatre Union) to negotiate new terms and conditions with each team, and the final ballot took place at the end of July.

Debbie Clinton, TRP’s Head of HR said “We’re delighted to be a Real Living Wage employer – it has made, and will continue to make a real difference to a large proportion of our staff-members, and it makes TRP an even more attractive opportunity for people when we’re recruiting new staff”.

Plymouth City Councillor Chris Penberthy said “I would like to congratulate TRP for becoming a Real Living Wage employer; an achievement that will benefit their workforce. It is fantastic to see a high profile local employer with an international reputation making sure that their staff share in their success. Evidence shows that paying the Living Wage brings benefits to both businesses and their staff, I hope that other local firms will join Theatre Royal Plymouth by implementing the Real Living Wage.”