Annual Review 2016/17 - Orange Tree Theatre
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Annual Review 2016/17
Welcome
Orange Tree Theatre 2016/17 in numbers
CO-PRODUCERS Every show
The 2016/17 Season marked our third at the helm of the Orange St Mary’s University. Five directors were in residence at the Theatre
5
Tree Theatre (OT) since taking over in 2014. It was without question for the year, assisting on productions, working with professional
NOMINATED
the busiest, most ambitious and adventurous programme actors and visiting tutors, and finally directing productions for our
of work for the OT ever, with many new initiatives and major Directors’ Festival in July.
BIGGEST.AUDIENCE.YET FOR AN AWARD
successes. It was also the second full year operating without
regular funding as part of the Arts Council’s National Portfolio. The OT has long inhabited a much-valued position at
the heart of the Richmond community. By broadening our
72,894
We were proud to offer a rich programme with our signature programme, further extending our education and participation
VENUES OUTSIDE RICHMOND mix: rediscoveries like Somerset Maugham’s final play Sheppey work and increasing access through activities like captioned
21 (unseen in 50 years) and the premiere of John Fowles’ version
of a Marivaux play, The Lottery of Love; the first major revivals in
performances and a new group for the over 60s, we now engage
a broader cross-section of Borough residents than ever. You can
56,717 IN RICHMOND London of important contemporary plays like Caryl Churchill’s read more about this on pages 10–15.
194
Blue Heart and Clare McIntyre’s Low Level Panic; and of course
16,177 OT ELSEWHERE
innovative new plays by Zoe Cooper, Elinor Cook, Roland The amazing team who work behind the scenes to make all this
Schimmelpfennig and Branden Jacobs-Jenkins. We’ve done all happen are supported by so many new people we now work
of this in partnership with wonderful companies like Farnham with: our individual Patrons, donors and Members; the imaginative
Maltings, Bristol’s Tobacco Factory, Flute Theatre, English Touring leaders of Richmond council; and our wonderful volunteers and
28
32%
PERFORMERS EMPLOYED
20% IN,400
95
Theatre and Actors Touring Company. Front of House staff who make your visit special. All of us were
thrilled therefore to be voted London’s Most Welcoming Theatre for
CR E A S
7,67 E And we’ve been out in to the world more than ever in the second year running at this year’s UK Theatre Awards.
25% IN0 LIKES
VISITED THE ORANGE TREE 2016/17. ETT took our production of French Without Tears on tour
FOR THE 1ST TIME 188,30 CR E A S
20,065
E CREATIVES EMPLOYED to nine towns; Jess and Joe Forever, co-produced with Farnham And of course we’re looking to the future. For the first time we have
••••••••••
4,196 0
UNIQUE
MEMBERSHIP & FUNDRAISING
Maltings, toured to 11 UK venues after its run here and had a
triumphant run at the Traverse Theatre as part of the Edinburgh
commissioned new plays with grants from Arts Council England
and Cockayne, and through partnerships with Paines Plough,
COVER: VIVIAN OPARAH IN AN OCTOROON, PHOTO THE OTHER RICHARD
W
25% IN EB S I T E
CREAUSSERS Festival; Winter Solstice, co-produced with ATC, enjoyed a sold out Theatre Clwyd and the RSC. These new plays will start to appear
UNDER ♥30
FR income
40%
FR income incoming
40% 53% SAW NEW PLAYS
FR income
incoming
40%53% 55%
EXp incoming
EXp
53%
55%
E TOTAL £297,100
EXp
55%
run and will be remounted for a UK-wide tour early in 2018; The in 2018 and beyond.
+934 ON TOUR End of Hope, part of our Directors’ Festival, has just transferred
22% 22% 17% 22%17% 22% 17%
22% 22%
29% INCREASE ON 2015/16
20% 20% 9% 20%9% 16% 9%
16% 16%
9%
5%
3%
UP MORE THAN 50% 9%
5%
3%
8%
5%
5%
9% 8%
5% 5%
3% 5%
6%
2%
8%
6%
5%
2%
5%
6%
2% to the Soho Theatre to ecstatic reviews and An Octoroon, which We are proud to be a serious, entertaining, independent producing
1% 1% 3% 1% 3% 3% stormed our stage in Ned Bennett’s extraordinary production theatre, based in Richmond but speaking to the world. We are
in summer 2017, will transfer to the National Theatre’s Dorfman restless in seeking new ways to engage with new audiences and
Theatre in summer 2018. make our work as inclusive and accessible as possible. Our range
of work sparks conversations between the old and the new in ways
1% Fundraised income Incoming resources 2% Resources expended
With Kelly Hunter’s remarkable Flute Theatre, we launched a new that we hope will challenge, stimulate and delight. And our space is
5%
3% 2016/17 5%3% 2016/17 2016/17
Individual donations
5%
Ticket Sales 53%
5%
Artistic Programme 55%
kind of production here in 2016/17: interactive performances of unique: the OT experience is like no other.
9%
40% and membership 40%
8%
Fundraising 17% 16% Education & Participation Shakespeare for young people with autism. This collaboration
Arts Council England 22% 9%
53%
Bar & merchandise sales 9% 55% Programme 22% extends our already extensive work with Shakespeare for schools We’ve come a long way since 2014. There’ve been many
20% Trusts/Foundations 20% Other grant support 8% Support costs 16%
22% audiences and the effect on the young people participating was changes and new developments, alongside new challenges.
:DISCOVER 9% 17% Education & Participation Cost of generating funds 5%
22% Events 5% income 5% Governance costs 2% utterly transformative. What 2016/17 proved was that there are so many new
Corporate 3% LBRuT 5% possibilities in the future: we can’t wait.
Community 1% Theatre Tax Relief 3%
Training and development is a core part of our mission at the
OT. In the last year we launched a new MA in Theatre Directing with Paul Miller, Artistic Director and Sarah Nicholson, Executive Director
Orange Tree Theatre 2017 review | 3
Richmond’s national theatre Artistic highlights
David Lan, Artistic Director, Young Vic
PHOTOS THE OTHER RICHARD
French Without Tears Jess and Joe Forever Blue Heart
Back by popular demand, Terence Rattigan’s In September we opened with Jess and Joe Nearly 20 years after its Royal Court
French Without Tears became the first Forever by Zoe Cooper, a co-production with premiere, October brought the first major
production to be performed in July at the OT, Farnham Maltings. Directed by Derek Bond, revival of two exhilarating one act plays
a time of year when the Theatre is usually this new play explored the intricacies of by visionary playwright Caryl Churchill. In
dark. Paul Miller directed again, following young friendship through an unexpected this co-production with Tobacco Factory
the show’s sold out run in 2015. A co- coming of age story. Theatres, David Mercatali returned to direct
production with English Touring Theatre, the following his 2015 OT debut production of
play undertook a nine-venue national tour in ★★★★ … pays dividends with a ‘hell Alice Birch’s Little Light.
autumn 2016. yeah’ ending; the sort that sets tear ducts
going and sends stomachs soaring. ★★★★ It’s dazzling, unapologetic stuff,
Paul Miller’s revival of the play is You’ll want to punch the air. another sign of how brave the Orange
deliriously funny from beginning to end... Matt Trueman, WhatsonStage Tree has gotten these days.
It’s staggeringly good. It’s riotously Andrzej Lukowski, Time Out
funny. Eighty years later, Rattigan’s first WINNER: OFFIE for Most Promising
big hit is a hit again. Dan Rebellato Playwright – Zoe Cooper 3 OFFIE nominations:
Best Production
2 OFFIE nominations: Best Ensemble
Best Female Performance – Nicola Coughlan Best Director – David Mercatali
Best Male Performance – Rhys Isaac-Jones
PHOTO HELEN MURRAY
Orange Tree Theatre 2017 review | 5
Catches every narrative twist of the
rarely seen Somerset Maugham play
PHOTOS HELEN MAYBANKS/ROBERT DAY/STEPHEN CUMMISKEY
from 1933... one of the year’s
best theatrical reclamations
Matt Wolf, New York Times on Sheppey
Sheppey Extra Yarn Winter Solstice
The first major production in over 50 years For families over Christmas, we produced The OT marked the new year with the UK
of Somerset Maugham’s warm-hearted, the world premiere of Extra Yarn, based on premiere of Roland Schimmelpfennig’s
beguiling last play about a philanthropic the hit US book by Mac Barnett, illustrated razor-sharp comedy about family, betrayal
hairdresser was directed by Artistic Director by Jon Klassen. Directed by OT Education and the inescapable presence of the past.
Paul Miller over the festive season. Director Imogen Bond, Elinor Cook’s A co-production with Actors Touring
enchanting adaptation featured live music Company, Winter Solstice was translated
★★★★ There’s good work all around composed by Tom Deering and performed by David Tushingham and directed by
in Paul Miller’s confident production, by its four actor-musicians, and some never- Ramin Grey, and played to 99% capacity.
from Dickie Beau as down-on-her-luck ending knitting!
prostitute Bessie and Katie Moore and ★★★★★ The most exciting new play
Josh Dylan as Sheppey’s social-climbing ★★★★ It’s both wistful and evocative. I’ve seen in years Sunday Express
daughter and her smug schoolteacher Extra Yarn touches lightly and deftly on
fiancé. In today’s scarred, angry world, the importance of love and community. 4 OFFIE nominations:
this question of individual agency burns This production joyfully evokes that on Best Production
just as strongly, some 83 years after stage – it’s as warm as a hug. Best New Play
Sheppey’s premiere. The Stage Best Director – Ramin Grey
Fiona Mountford, Evening Standard Best Actor – Dominic Rowan
Nominated for The Stage Debut Award:
WINNER: OFFIE Best Designer – Jessica Staton
Best Actor – John Ramm
PHOTO HELEN MAYBANKS
Best Supporting Actor – Dickie Beau and
Josh Dylan
3 OFFIE nominations:
Best Production
Best Director – Paul Miller
Best Designer – Simon Daw
Orange Tree Theatre 2017 review | 7
This is an hour and a half of lust-at-first-sight,
PHOTOS HELEN MURRAY/HELEN MAYBANKS/THE OTHER RICHARD
of pure infatuation, in all its knee-trembling,
giddy glory. Chemistry smoulders in all
four corners of the stage.
Holly Williams, WhatsOnStage on The Lottery of Love
Low Level Panic The Lottery of Love An Octoroon
A second contemporary revival followed, In April, Marivaux’s greatest comedy, Le Jeu The European premiere of An Octoroon,
this time Clare McIntyre’s Low Level Panic, de l’amour et du hasard, took to the stage in by Branden Jacobs-Jenkins, quite literally
not produced since its premiere in 1988 yet a previously unseen version by John Fowles, stormed the OT’s stage for the summer.
still painfully relevant. The play interrogated which translated the play to the Regency Directed by Ned Bennett (Pomona, OT 2014),
the effects of society’s objectification of England of Jane Austen. this OBIE Award-winning play uses Dion
women with a vibrancy and stylistic freedom. Boucicault’s melodrama The Octoroon to
Directed by JMK Award 2016 runner-up, This sparkling translation by the author explore race in America, whilst ripping up the
Chelsea Walker. of The French Lieutenant’s Woman and The theatrical rule book.
Collector was directed by Artistic
★★★★ Chelsea Walker’s beautifully Director Paul Miller, following his sold-out ★★★★ An Octoroon is a cracking piece
judged production...McIntyre’s writing productions of plays by DH Lawrence, Doris of writing… Ned Bennett achieves things
is witty as well as unsettling... Lessing, Terence Rattigan and Bernard Shaw. you’d never expect, even from the Orange
one of the most memorable bits of Tree’s versatile space… an effervescent
theatre I’ve seen this year. ★★★★ Paul Miller’s sparkling production... production of a richly imaginative play…
Dominic Maxwell, The Times Dorothea Myer-Bennett is outstanding vital drama, in every sense of the word.
as Sylvia... Played at a brisk 90 minutes, The Arts Desk
4 OFFIE nominations: Marivaux’s marvellous play demonstrates
Best Female – Sophie Melville that, in matters of love, there is no gain 4 OFFIE nominations:
Best Female – Katherine Pearce without pain. Michael Billington, Best New Play
Best Director – Chelsea Walker The Guardian Best Director – Ned Bennett
PHOTO HELEN MAYBANKS
Best Designer – Rosanna Vize Best Male – Ken Nwosu
OFFIE nomination: Best Female – Vivian Oparah
Best Female – Dorothea Myer-Bennett
8 | Orange Tree Theatre 2017 review
Education & Participation
Orange Tree Theatre Education & Participation
PARTICIPANTS PROJECT SATISFACTION This season has been Education & Participation’s biggest and busiest to date. We’ve created brand new projects, taken
established activities to new heights, strengthened ties with our local community and broadened our reach.
5,349 5,165 IN-SCHOOL SHAKESPEARE PROJECTS Each year around 10,000 people take part in our Education projects, which are directly linked to the school curriculum,
and our wide-ranging Participation projects which offer opportunities to learn and be creative to people of all ages. The
RICHMOND RESIDENTS
••••• including •••••
FROM BEYOND RICHMOND 97%
EXTREMELY SATISFIED
3%
SATISFIED
breadth of our Education & Participation Programme ensures that there is something for everyone, that we are inclusive and
accessible. Everyone is welcome.
The experience of the individual is at the heart of everything we do; we want everyone to feel at home at the OT. We
4,067
in school
open our doors to anyone who is curious to find to more about what we do, and in doing so we encourage people to ask
questions about the world around us. We aim to help everyone learn new skills, make new and lasting friends, increase their
confidence and develop their talents.
Participating in arts activities has been proven to be beneficial to wellbeing and mental health, and so our Education &
Students from Participation Programme is designed to offer everyone a way into accessing the arts. We endeavour to create strong and
low-income families lasting relationships with those that come through our doors, to inspire a life-long interest in the arts.
who take part in
arts activities at
school are three Education Projects The Tempest for young people and initiated an in-depth full-blown
times more likely with autism and their families conversation with one of the actors in a
Learning through to get a degree. Employability of I admire greatly what you and your team way I’ve not seen before.
Learning through arts and culture An earlier study¹ students who study are doing at the Orange Tree – it has been Led by Kelly Hunter, Flute Theatre make
truly inspirational for the children in our work specifically aimed at young people After the success of the 2016 production, in
arts and culture can develops skills and also found that the arts subjects is
school and I believe will send them off to with autism. Their participatory productions autumn 2017 we co-produced a version of A
improve attainment behaviour that lead education advantages higher and they are
secondary loving rather than dreading the use the iambic heartbeat of the play to Midsummer Night’s Dream with Flute Theatre
in Maths and children to do to the students with more likely to stay
idea of studying Shakespeare. encourage those with autism to communicate and ETT in order to continue offering this
Participation in English. better in school. high arts involvement in employment.
Teacher, St Luke’s Primary more freely. Up to 15 young people on the unique opportunity to even more people that
structured arts Teenagers and young A systematic review appeared to increase The creative economy
spectrum join the 6 actors on stage, playing would benefit from it.
activities can adults of low socio- of international over time, and ‘arts- accounts for one in 11 Much of our Education work focuses on
increase cognitive economic status evidence found engaged low-income jobs in the UK³. NESTA sensory games which help with elements of
presenting Shakespeare’s plays to a younger My daughter loved it! She was
abilities by 17%. (SES) who have a that participating in students tend to found in 2015 that 87% communication. Participants are able to work
audience. In doing so, we take a core apprehensive at first but over time, she
Improving children’s history of in-depth structured arts activities perform more like of highly creative jobs at their own pace and everyone is included.
element of the school English curriculum, that became involved and her confidence grew.
cognitive skills makes arts involvement led to increases in average higher-income are at low or no risk of we know teachers can find hard to engage In October, 117 people with autism, She is still talking about it and describes is
them better learners, show better academic transferable skills students’². This automation, compared students with, and spark into life its essential aspergers and other SEND came to take part as ‘amazing’ to people she meets.
more able to apply outcomes than do low- (including confidence suggests a role for the with 40% of jobs in humanity, making it feel contemporary and in The Tempest. Of those that took part, 67% Parent of participant, 2016
the knowledge they SES youth who have and communication) arts in schools as a way the UK workforce as a relevant. We aim to help younger audiences were entirely new to the OT.
acquire. less arts involvement.¹ of between 10–17%). of combating inequality. whole4. to find themselves in the plays, and connect We discovered that this project offered a
them to a part of their cultural history that chance not just for individual children to
they may have felt shut out from.
PHOTO TRISTRAM KENTON
have a new experience, but for their families
¹ Catterall, James S., Dumais, Susan A. and Hampden-Thompson, Gillian. The arts and achievements in at-risk youth: findings from longitudinal studies. (Washington: to connect with others in a similar situation,
National Endowment for the Arts, 2012) Available at: www.arts.gov/sites/default/ les/Arts-At-Risk-Youth.pdf, Pg12.
In 2017, in addition to the continuation
² President’s Committee on the Arts and the Humanities. Reinvesting in Arts Education: Winning America’s Future through Creative Schools (Washington DC: 2011, p.18) of our three main Shakespeare projects: counteracting the isolation some families can
³ Department for Culture, Media & Sport (DCMS). Creative Industries Focus on Employment (London: DCMS, 2016, p.5). Shakespeare Up Close, Primary Shakespeare feel. Some parents experienced seeing their
4
Bakshi, Hasan, Frey, Carl Benedikt and Osborne, Michael. Creativity vs Robots: The Creative Economy and the Future of Employment (London: Nesta, 2015) and our Shakespeare Residencies, we added children take part in new ways. One parent
www.nesta.org.uk/sites/default/files/creativity_vs._robots_wv.pdf said: After the performance, during tea,
a new project aimed at making Shakespeare
accessible and inclusive. my child was unusually very confident
Orange Tree Theatre 2017 review | 11
Shakespeare Up Close: Twelfth Night Primary Shakespeare: King Lear Participation Projects Young Company, for ages 16–19 years Having personal experience through
our children, we believe the Orange
Building on the success of last year’s new Our longest running Shakespeare project Young Company has pushed me out of my
Tree Youth Theatre is paramount in
format for Shakespeare Up Close aimed is for children aged 6–11 years old, and comfort zone every week Participant 2016
Youth Theatre, Young Technicians nurturing talent and giving young
at secondary schools, we presented a this year introduced 3,848 children to King
and Summer Schools The Young Company is newly formed each people the opportunity to build their
sparky Twelfth Night, fizzing with energy. Lear. The combination of an active drama
year. Led by director Joe Barnes-Phillips, confidence, work collaboratively, and
Directed by Alex Thorpe, it played to nearly workshop in school, followed by a visit to Our five popular weekly Youth Theatre they created a scripted play based on their challenge themselves and their view
3,000 students across Richmond and our the OT to see an abridged performance with groups stand at the heart of our Participation improvisations, tackling racism and attitudes of the world. The gold standard of the
surrounding boroughs. The project offers interactive elements, helps pupils to relate to Programme. The sessions, which are split into to multiculturalism. The weekly sessions ground-breaking work in the theatre,
teachers access to high quality Shakespeare the characters and encourages them to enjoy age groups from 7–16 years, offer the chance
Masters in Theatre Directing brought together a diverse group of young naturally pays dividends in the youth
in performance with a flexibility that fits their their first encounter with Shakespeare. to make friends, build skills and increase theatre makers who challenged each other theatre. With plays like Pomona and Jess
curriculum objectives. This year we embarked on leading a brand- confidence.
The liveliness and vitality of the play was to ask more questions and to overturn their and Joe Forever, and performances that
new training programme, the only one of
The joy and transformation live infectious. The children and the teachers We also took on five Young Technicians at expectations. are consistently of such high quality,
its kind in the country being predominantly youngsters cannot fail to aspire to give
performance has can help students were amazed and captured by the the start of the season, who learnt from our
housed within a producing theatre. Working the very best of themselves, in whatever
see that the theatre is for them, when performance; from the fights to the juggling professional stage managers in a series
in partnership with our local university – field that might be.
previously they might not have thought this, to the deaths and disasters – we loved it. of workshops throughout the year, putting
St Mary’s, Twickenham – this course Elizabeth Heery and Peter Davison,
particularly if they are not taken by their Teacher, Hall School Wimbledon their skills to the test programming lighting
strengthens our partnership with the drama OT Ambassadors and parents to two
families. In addition, it helps break down and sound for the end of year Youth Theatre
department at St Mary’s where we have Youth Theatre members
the prejudices or fears some students have performances. With so few opportunities for
previously led BA modules.
of Shakespeare’s plays, especially when Shakespeare Residencies young people to explore working backstage,
performed in such an accessible way. The MA has been designed to offer practical this offers rare experience of career paths
Each year we run week-long Residencies in
Teacher, Dunraven School training for those wishing to pursue a career beyond performing.
primary schools that have been identified as
in theatre directing, and during the one year
most in need of access to cultural activities. We ran two week-long Summer Schools:
Discover More course the students are embedded in the life
This year 360 children from eight schools in one for 7-11 year olds and one for 12-16 year
of the OT.
We offer pre-show workshops, included Richmond and Hounslow have taken part olds. Each group of 20 participants meets
in the price of under 30s tickets, which entirely for free. The backbone of the MA, and another on Monday and by Saturday they perform
introduce the themes of the play to students. element which makes it unique, is the a piece that they have created themselves,
The schools offered the project have high
Groups can also take part in a workshop on emphasis placed on working with professional working with a professional theatre director.
numbers of children from disadvantaged
our stage, where they explore how we work actors. On most courses, student directors
backgrounds, or who speak English as an We have many children who join us aged
in-the-round and the impact this has on work with their peers or acting students, here
additional language; we ask the local council seven and stay with us throughout their
audiences. directors learn their craft by working with
to help us identify the schools most in need. education. Parents tell us of the positive
experienced professional actors every week
The workshops are active and fun, and impact being part of the Youth Theatre
Based around active drama workshops on and are encouraged to really get to grips
help students who might be unfamiliar with has on other areas of their children’s
Macbeth, teachers report that this project with working collaboratively with actors in the
theatregoing to settle in and feel at home. development. The skills promoted by the
encourages more confident communication rehearsal room.
The aim is to encourage greater access to groups of collaborative endeavour, of valuing
in their pupils, as well as promoting teamwork
the OT for new audiences, and this year The course culminates in each student others’ views, and of bravery to challenge
and an enthusiasm for Shakespeare’s
nearly 600 people have taken part. directing their own choice of play on our themselves, support them through their
language and stories.
stage. This year, we could not be prouder of schooling, and beyond.
We have a high proportion of EAL Working co-operatively with children from our first cohort of directors. Kate Campbell,
students, I really appreciated how other year groups was a positive feature Hannah de Ville, Max Elton, Grace Vaughan Photos: Top left: Orlando James and Georgina Campbell
accessible the workshop was to all and these new friendships have been in Even Stillness Breathes Softly Against a Brick Wall
and Jamie Woods produced work of the
of my students. Thank you! by Brad Birch, directed by Hannah de Ville (photo by
observed in school. highest standard that promises great things Robert Day). Bottom right: OT Connections Company
Teacher, International School of London Buckingham Primary to come. in Alistair McDowall’s Zero for the Young Dudes
12 | Orange Tree Theatre 2017 review Orange Tree Theatre 2017 review | 13
Over 60s Theatre Group
It lights my heart – it makes me want to sing
and dance! 2017 group member
Another new project for 2016-17 was our
Over 60s group. They met every Friday and
worked with actors, directors and writers The liveliness and vitality of
involved in our season. Feedback has been
excellent, with many members commenting the play was infectious.
on what a positive impact the group has had The children and the teachers
on their wellbeing. One member told us that
they most valued the ‘variety, unpredictability were amazed and captured by
and sociability’ and many commented on how the performance...we loved it
much they enjoyed learning something new
every week. Teacher, Hall School, Wimbledon
Yarn Birds
Over Christmas we joined forces with a local
group of social knitters – The Yarnbirds,
who contributed in numerous ways to our
production of Extra Yarn. The group not only
knitted hundreds of mini jumpers to decorate
our foyer areas, but they also shared their
skills with our young audiences, helping
National Theatre Connections I felt incredibly honoured to take part anyone who wanted to, to learn to knit. The
Company, for ages 15–19 years in this year’s Connections Festival. The squares knitted by our audiences were then
rehearsal process was exciting and stitched together into a beautiful blanket,
We’ve taken part in the National Theatre’s which we presented to local charity SPEAR,
challenging – and performing on the
Connections Festival for the last five years; who now keep it in one of their shelters for
Olivier stage was something I never
this year we were thrilled that our company young homeless women.
imagined I would be lucky enough
of actors were invited to perform at the NT at
to do. Acting in three very different
the culmination of the Festival – one of just
theatres was an enlightening experience,
ten companies from the 250 groups that took Masterclasses
revealing the complexities of back
part across the UK.
stage management and the amount Masterclasses are a great way of opening up
The group, led by Roberta Zuric and Izzy of organisation and effort required to our work: demystifying the rehearsal process
Cotterill, was made up of 12 young actors ensure a show runs smoothly. Everyone and encouraging curiosity about the play and
PHOTO ROBERT DAY
and a Young Technician. It was an enormous involved in our company was wonderful the production. We initially planned to offer
challenge for the company, who through – I felt that our performance was one masterclass led by Ned Bennett on An
determination and unending enthusiasm, heightened by the fact that we all became Octoroon, but due to demand, we actually
created an outstanding ensemble such great friends. ran three sessions over June and July, with
performance. OT Connections Company member 2017 around 60 people taking part.
14 | Orange Tree Theatre 2017 review
Literary Orange Tree New Artists
Supported by Arts Council England through
Workshops and readings
Deepa the Saint by Sonali Bhattacharyya,
Writers Collective
The Writers Collective is a group of eight
Grants for the Arts, this year we were able directed by Jennifer Bakst playwrights, who meet throughout the season
to radically expand the way we work with 13-year old Deepa has stopped eating and to share their passions, techniques and
We are hugely proud of our programme drinking. But curiously, instead of losing
playwrights and directors at early stages obsessions, connect with artists making work
of new work and premieres at in the development of their ideas. Through weight, Deepa thrives, dancing and holding at the Theatre, and develop their own work.
the Orange Tree. We continue to OT New Artists, we curated workshops and her hand to flames without feeling pain. She
produce work by the most exciting private readings of the most promising work becomes the talk of a desperate community, The 2016/17 writers were Sonali
that had come our way, in order to widen the and their friends and neighbours start to Bhattacharyya, Chris Bush, Daniel Foxsmith,
contemporary playwrights, asking range of artists we were able to talk to, and find meaning in what appear to be Deepa’s Christian Graham, Sarah Grochala, Eve Leigh,
incisive questions about what it is to plant seeds for future work. supernatural powers. John O’Donovan and Joe White.
be alive today, at the same time as
The Orange Tree currently occupies Mayfly by Joe White, directed by Guy Jones Uprising saw the Collective write short plays
supporting establishing playwrights in
unique space in the national and London Set in and around the Clee Hills of in response to our production of An Octoroon,
the development of their crafts. theatre ecology, due to its commitment to Shropshire, a family coming to terms with the which were performed at the theatre in June
establishing artists. Many of the theatre’s death of their son are brought back together by a company of six actors. The plays were
This season we presented new work ambitions for innovation and diversity by the visit of a stranger. directed by Ola Ince and Guy Jones.
have been achieved in New Artists
including Zoe Cooper’s Jess and Joe Italian Night by Ödön von Horváth,
through embedding principles of artistic Then in July the National Theatre’s New Work
Forever, Elinor Cook’s adaptation excellence, innovation, equality and translated by Meredith Oakes, Department hosted these eight playwrights
of Extra Yarn for families, and the diversity within the programme the culture directed by Oscar Toeman for a week’s residency in which they worked
An investigation into this never-before
European premiere of Branden Jacobs- of the theatre. on full-length plays which they had been
Nic Wass, from OT New Artists: performed translation of Horvath’s play about developing over the course of the year.
Jenkins’ An Octoroon (which transfers the rise of Fascism
Independent Evaluation Report, July 2017
to the National Theatre in 2018). The group has triggered quite a profound
Monkey Work, Baboon Chop by Melissa shift in my writing and I feel very lucky to
Bubnic, directed by Gbolahan Obisesan have been part of it.
Outsiders have stolen from Nigeria for Writers Collective 2016/17 member
centuries. They took slaves, gold, palm oil,
and crude. It’s 2017. Has anything changed? The Writers Collective proudly goes on
Why is one of the richest nations also one of my CV now. It’s part of my training as a
the poorest? Minister Bimpe Babatunde is storyteller and testament to the work done
determined to deliver real change and that at the Orange Tree that everyone I speak
starts with a fair deal on oil. But no one ever to across the country knows of it when I
plays fair.
mention it.
The punchy Orange Tree Lilting by Hong Khaou,
Writers Collective 2016/17 member
PHOTO THE OTHER RICHARD
proves itself once more to directed by Guy Jones
An adaptation for the stage of Hong Khaou’s
Commissions
be one of the most risk- film, in which Richard, in the wake of the
loss of his partner Kai, reaches out to Kai’s Through OT New Artists we are delighted to
taking theatres in the capital Cambodian-Chinese mother to try and forge have been able to commission Chris Bush
a connection despite the barriers of culture and, in collaboration with the RSC, Zoe
Evening Standard on An Octoroon
and language. Cooper, to write new plays for the OT.
Orange Tree Theatre 2017 review | 17
Into 2017/18 ★★★★ Alice Hamilton’s well-judged revival…
Storey, who died this year, had a natural ear for
the rhythms of domestic bickering; Hamilton
matches it with a knack for articulating emotion
in the rituals of domestic life.
PHOTOS ROBERT DAY/TRISTRAM KENTON
Kate Maltby, The Times on The March on Russia
Artistic Programme Education & Participation Under the Orange Tree
The OT’s first two productions of 2017/18 A Midsummer Night’s Dream In 2017, together with OT Ambassador
launched the Season to great success with Gyles Brandreth, the Theatre launched a new
In a co-production with Flute Theatre and series of talks with our most distinguished
The March on Russia achieving 96% capacity,
ETT, we were proud to produce a new show actors about people they’ve worked with,
and Every Brilliant Thing achieving 99%
for young people with autism: A Midsummer admired and learnt from. A celebration of
capacity.
Night’s Dream. Using participatory games British theatre’s history and its especially
devised through years of research by Flute collaborative nature, the series offers an
Our 2017 MA Directors’ Festival production of unrivalled opportunity to see great artists
Artistic Director, Kelly Hunter, the production
David Ireland’s The End of Hope transferred talk up-close in the OT’s unique in the round
uses the rhythm of Shakespeare’s language to
with great success to the Soho Theatre, space, in conversation with Gyles Brandreth.
help alleviate communication barriers in young
securing a Best New Play OFFIE nomination;
people with autism spectrum conditions.
and in October 2017 we announced the The events raise much-needed funds for
transfer of An Octoroon, by Branden Jacobs- the Orange Tree, which since 2015 operates
A genuinely transformative event. For the without regular funding from Arts Council
Jenkins, to the Dorfman stage at the National
children and for the parents and carers… England.
Theatre in summer 2018.
served to awaken something very deep in
Through our co-production with Paines
the children…astonishingly moving We were thrilled to welcome Dame Judi
Parent of participant Dench as the first Under the Orange Tree
Plough and Theatr Clwyd, and by remounting
guest in June 2017. In November 2017, we
The End of Hope and An Octoroon, we are welcome our second guest in the series:
set to achieve our largest OT ELSEWHERE Academy, BAFTA, Golden Globe, Emmy,
audience to date, across 11 venues Tony and Olivier Award-winning actor,
throughout the UK. Dame Maggie Smith CH, DBE.
PHOTO HELEN MAYBANKS
Both events thus far in the Under the Orange
Tree series have sold out, raising more than
£30,000 towards the OT’s work.
18 | Orange Tree Theatre 2017 review:DISCOVER
In November 2016, following a EXPERIENCE EXPERIMENT EXPLORE
successful application to Arts Donations to :DISCOVER help us to identify Supporting writers and new work is an Revivals of lesser-known contemporary
Council England for Catalyst: Evolve and share with you the best new theatre important part of the OT’s history and with works could play a pivotal part in the
talent at work. Whether writer, director, actor donations to :DISCOVER can remain a OT’s ongoing programme thanks to the
investment, the OT launched a new or designer, over the last year :DISCOVER priority for our future. Together with a one- :DISCOVER campaign. The OT is unique
fundraising campaign, :DISCOVER. supporters have helped us champion off grant from Arts Council England, we in reviving important plays from the last 40
emerging talent, and continue to do so. commissioned one, and co-commissioned years: Caryl Churchill’s Blue Heart and Clare
four, new works in 2017. Commissions ensure McIntyre’s Low Level Panic hadn’t been
:DISCOVER aims to raise £100,000
MA Director Max Elton’s Festival production we can produce plays that are responsive produced since their world premieres, and
over three years, enabling the OT to of David Ireland’s The End of Hope has to the world around us and relevant to our at the OT in 2016/17 they received critical
embark on an ambitious programme transferred to the Soho Theatre for a five- audience. Commissioning new work is acclaim and audiences of over 6,000 each.
of activity that wouldn’t otherwise week run in its main space in October and expensive, but vital for the OT to champion The Lottery of Love, translated by John
November 2017. new talent at the beginning of their career as Fowles in the 1990s from the Marivaux play,
take place, including: a commitment not only to our programming, finally received its world premiere at the OT in
• Developing 36 new writers For his stage debut as Ernest in our 2016 but to the UK theatre landscape as a whole. April 2017.
• Producing 3 new plays you production of Sheppey, Josh Dylan’s
performance won him joint Best Supporting Commissions include: TOUR
wouldn’t see elsewhere Male at 2016’s Off West End Awards.
• 2016/17 Writers Collective member, Chris I want to get more of the world into
• Touring to 30 venues
Bush. Chris is a Sheffield-born playwright, the Orange Tree, and I want the
Vivian Oparah made her professional stage
lyricist and theatre-maker, splitting her time Orange Tree to get out into the world.
debut as Minnie in An Octoroon, and has
Donations to :DISCOVER are been nominated for an Off West End award
between writing musical and non-musical Paul Miller, September 2016, in an
matched by Arts Council England projects. Chris’s adaption of Pericles will be interview with Maddy Costa
for Best Female.
produced for the Olivier stage at the NT in
£1 for £1. 2018. Through co-producing and investment from
Jessica Staton’s first professional role as
In its first year, audiences raised :DISCOVER, the OT has been able to tour
designer was for Extra Yarn, our show for • A co-commission by Zoe Cooper with
a fantastic £34,500 towards beyond England for the first time in 2017.
families and young children, earning her a the RSC. Zoe’s play, Jess & Joe Forever
:DISCOVER. This support is helping nomination for Best Designer at the inaugural premiered at the OT in September 2016
2016’s Jess & Joe Forever by Zoe Cooper
the OT to develop an evolving Stage Debut Awards. Jessica went on to before embarking on a UK Tour, and was
was revived at the Edinburgh Festival this
design the OT’s primary education project revived for Edinburgh Festival this year.
programme; invest in new artists; summer, with fantastic reviews and sold out
in 2017, taking King Lear to the circus, and
• Three co-commissions with Paines Plough performances.
and to take risks with new and is one of the 2017 finalists for the prestigious
and Theatr Clwyd: Black Mountain by Brad
lesser-known bodies of work, Linbury Prize for Stage Design.
Birch, Out of Love by Elinor Cook and How to Our three co-commissions with Paines
enabling audiences to be a Kid by Sarah McDonald-Hughes. Plough and Theatr Clwyd are playing in
repertoire on a UK tour in Paines Plough’s
EXPERIENCE the next generation
Roundabout venue. The tour concludes
of theatre talent, with a six-week run at the OT in January –
EXPERIMENT with ground-breaking March 2018.
PHOTO ROBERT DAY
new plays, and
Thank you to everyone who has supported :DISCOVER in its first year.
EXPLORE lesser-known
If you have any questions, or would like any more information about
contemporary plays that inspire :DISCOVER, please contact Development Manager Rebecca Frater on
theatre-makers today. 020 8940 0141 or at rebecca.frater@orangetreetheatre.co.uk
Orange Tree Theatre 2017 review | 21With thanks to the following for their support of the Orange Tree in 2016/17:
Company of
Individual supporters OT Board
2016/17
David & Selina Marks David Antrobus
The Devey Family Steven Elder
John & Kate Ellis Kate Ellis (Vice Chair)
Sue Howes & Greg Dyke Oliver Ford Davies
Elizabeth Offord Nigel Hall
Roger Gascoigne Vivien Heilbron
Ros & Derek Sweeting John Hudson
Philip J Hooker Richard Humphreys (Chair)
Richard Humphreys Sunita Pandya
Jon & NoraLee Sedmak Rosalind Sweeting
Angela Hyde-Courtney Duncan Tatton-Brown
Peter & Rosy Gent Stephanie Turner
Veronika Hyks Ray Warner
Anonymous
Ambassadors
Companies Michael Attenborough
Moore Blatch Samantha Bond & Alexander Hanson
Cantell & Co Gyles & Michèle Brandreth
Paul Appleton and Allies & Morrison Judith Coke
United Artists Peter Davison & Elizabeth Heery
Aesop Philip Glenister & Beth Goddard
No.1 Duke Street Baroness Kramer
Anonymous Sally Phillips
Paulette Randall
Our friends in the community Fionn Whitehead
The Kew Fete Committee
The May Fair Development Committee
Haskel Family Foundation
Harriet Devey (Chair)
Fenton Arts Trust Alessio di Capua
Noel Coward Foundation Kate Ellis
BROCHURE DESIGN ANNIE RUSHTON | PRINT IMPRESS
Elizabeth Heery
Phoebe Reith
Annie Rushton
Ros Sweeting
With special thanks to
Dame Judi Dench, as our first
Under the Orange Tree guest;
Orange Tree Theatre
Baroness Ronny van Dedem;
1 Clarence Street
Richmond-upon-Thames our 1,000 Members whose support collectively
TW9 2SA contributes the running costs of an entire
production per Season; and everyone who works
Registered Charity Number 266128 and volunteers at the OT. Thank you.
22 | Orange Tree Theatre 2017 reviewWhat a year it has been for the Orange Tree. It’s the sort of year that would make any other theatre in the country – the National Theatre, even – jealous. Hell, it really must have made an impact with the National, as next year will see the South Bank playing host to a transfer of Branden Jacobs-Jenkins’s clever and slippery race satire An Octoroon, one of the Orange Tree’s very biggest hits in a year of very big hits. Quietly, steadily but to a mounting chorus of acclaim from a growing spread of audience members and critics alike, Artistic Director Paul Miller and Executive Director Sarah Nicholson have turned this vibrant little in-the-round space in Richmond into one of London’s go-to venues. Their programming has been so delightfully clever: a mix of canny revivals, often of neglected quality writing from the 1980s – Low Level Panic by Clare McIntyre, a play whose working onstage bath tub was a source of endless fascination to me, just as was its sharp and still scarily relevant dissection of sexual politics; The March on Russia by David Storey – and impeccably selected new writing – Jess and Joe Forever by Zoe Cooper, Roland Schimmelpfennig’s chilling German teaser Winter Solstice. The hit rate has been astonishingly high; there has not been a single production in the 2016/17 Season that has done anything other than extremely well. The Evening Standard’s Fiona Mountford in a speech at the 2017 Empty Space Peter Brook Awards
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