Programming Juggling Act
Neil Sellman, chair of the Stables, outlines his vision for Hastings’ only independent theatre, and the dilemmas of mixing in-house amateur productions with those offered from touring or outside companies.
A number of people and organisations have asked me, as chair of the Stables: “What is my vision for the theatre?” It took some time to develop one as there are a number of restrictions that need to be considered; but once I realised these could be used to positive effect, and as a framework for what was achievable, then the realisation of that vision was easy.
I want the Stables to be a community theatre and arts centre that welcomes and supports creative people. Creative people who are able and willing to add to the artistic and technical excellence of the theatre.
We try to be honest about our skills and abilities and not overstretch the team of dedicated volunteers. That’s not to say that we don’t develop through training and support: I find that people who suggest development ideas usually have the necessary skills and knowledge to implement them and are invited to be part of the solution.
Since coming out of lockdown the road back to ‘normality’ has been, and continues to be, difficult. From the theatre’s perspective we have a very different normal, a challenging but exciting normal. People new to the Stables Theatre now make up a major part of our audience. New artists, many of them local, approach the theatre with ideas and work they would like to collaborate with; this group allows us to extend our range.
Developing a program for the Stables is hugely exciting. I thought that programming for our audience, both new and old, was going to be difficult; but there has been an acceptance by both groups to experience the ‘new’ that has created a real crossover of audience. I think the standard of productions, both in-house and incoming, as well as the cost of the theatre to artists and audience, are big contributing factors.
Our in-house productions are working closely with a variety of professionals, on stage with prominent actors and directors from the industry, and backstage with leading technicians. Connections like these are getting the Stables Theatre name known within the wider profession.
Someone suggested to me recently that we tended towards the (Terence) ‘Rattigan Era’ of mid-20th century plays. My response was that this was totally unfair… we program for the theatre as a whole, so if incoming companies are presenting modern day/contemporary plays, then the in-house group tend towards traditional and vice versa. It’s a real juggling act depending on what is pitched to the theatre from members and what is ‘touring’ in this area. So for instance, this year, the in-house productions are First Bus to Ballinabeg (new writing), The Hollow (Agatha Christie), Breaking The Code (Hugh Whitemore) Home, I’m Darling (Laura Wade) Love Song (Abi Morgan) Doubt (John Patrick Shanley) and Christmas Carol (a Stables Theatre adaptation based on the novel by Charles Dickens).
The Stables Theatre was founded over 60 years ago by a group of people to which we will be forever grateful. During their tenure they gave the theatre a firm foundation from which to operate and now we need to develop their legacy. New ideas for the theatre have to be led by people with not only the vision, but also the ability, willingness and expertise to develop and manage the project. I have learnt in the past three years that there is far more to running an independent theatre than just putting on your production: your support team is crucial.
Theatre is changing, I believe for the good. Following Covid, audiences still need to be encouraged back, but I feel we have a great opportunity. We cannot replicate the huge Disney-style productions in the West End or compete with such companies as Netflix with their vast expanse of finance, special effects and star names, but we can offer the opportunity to witness the unique magic that happens between actors and audience during live theatre.
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