Bursting the Bubble

In November 2007, Arts Council England (ACE) recommended ceasing revenue funding for the London Bubble, after 33 years. In the weeks between the recommendation and its ratification, our audience shocked us almost as much as ACE. We should have known that our audience and com-munity wouldn’t remain passive when ACE proposed de-funding the company. They wrote testimony showing how Bubble had had a personal impact on them and/or their families. However, this did not reverse ACE’s decision or lessen the cut. As the decision came in the same year that London councils moved to a commissioning model, the company effectively lost 65% of its regular income in one fell swoop. We had to change, and fast. Our Board considered five new models, and the one chosen centred on ‘Creative Theatre’, delivering and evaluating how theatre-making positively affects individuals and communities.
Partners responded well. ACE made a transitional grant, Southwark and Lewisham Councils made one-off contributions, and a grant from the ITV Trust meant the company had a chance of survival. We reduced our ten core posts to three-and-a-half. These posts share marketing tasks. Press releases, propaganda, eflyers and invitations all come direct from the horse’s mouth. Without wishing to decry the skills of marketers, this means that our messages have a rough authenticity to them. However, actions speak louder than press releases. We pushed through a large community project, Urban Dreams, as a free event to thank our supporters. Alongside a schools programme and a participatory offer that attracts children and adults, Urban Dreams was the first sign of life on the decks of the almost-wrecked SS Bubble.
 

The idea for Fan Made Theatre (FMT) was inspired by Ebbsfleet United Football Club and independent film financing, which raise money by offering shares to supporters. We decided to offer ‘stakes’ in return for a range of benefits designed to involve people in the making of a professional summer promenade show. For £20 (£10 concessions) stakeholders were given a ticket, access to rehearsals, an invitation to a preview, and, most notably, a chance to decide what the show would be. We built a website where stakeholders could submit ideas for the show and post opinions on the various suggestions. Fifty-three proposals were submitted – far exceeding our expectations. These were then whittled down to five, by a panel of two audience members, two members of our youth theatre, two members of our acting company and myself as Creative Director. In mid-April we opened the voting and an 80% turnout voted ‘The Odyssey’ the winner by a clear margin.
While FMT has been exciting and dynamic it has also been nerve-wracking. The show was always scheduled to open on 5 July, but until 4 May we had no idea what that show would be. Casting, marketing, adaptation and concept have had to ride the Fan Made wave. Hats off to Simon Startin, who has produced a fantastic adaptation for our promenade performances. A strong cast of nine, plus crew and creative team, has risen to the challenge, in part driven by the continuing involvement of supporters who post messages, pop into rehearsals and occasionally volunteer their time. So, after 30 years of directing for publicly subsidised companies, I find myself working on a commission. A piece of theatre commissioned by tax-payers – otherwise known as our audience. This makes me determined to do the best we possibly can – partly for the 52 people whose proposal wasn’t chosen. Our stakeholders seem to have chosen well, the work in the rehearsal room is meaty and moving, the piece sits naturally in the promenade form and tickets are selling well. Our audience has great taste.