Conversations, dispatches and ideas from the Bush Theatre.
Benedict Lombe’s play Shifters transferring from the Bush Theatre to the West End was a milestone moment: for the artists involved, the audiences they engaged, and the future of British theatre it will inspire. It offers a glimpse of what commercial theatre in this country could be. And as Bush audience members and supporters know, it’s an extension of what our spaces already are. Bold. Diverse. Championing new voices, and different stories.
One of those spaces – our main house, where Shifters opened in Spring 2024 – is named the Holloway Theatre. And though they don’t bear his name, Charles Holloway OBE’s generosity is also threaded into the many parts of our Talent Development programme through which Benedict Lombe emerged. The Emerging Writers’ Group, Protest series, seed commissioning, R&D periods, mainstage commissions and production behind this smash-hit show were all made possible by generous support from the Arts Council, Trusts and Foundations, a community of supporters, and major donors including Charles.
Motivated by a desire to “say thank you to the arts for all the joy it has given me over the decades,” his patronage spans theatre, ballet and opera, and provides vital support to some of the UK’s biggest and most innovative organisations. From one of the oldest drama schools in the world to the first years of a New Musical Theatre Department at Birmingham Hippodrome, his generosity aims to support the spaces and shows which will “give people a first great experience of the arts, in the hope it sparks a lifelong love, like mine.”
Given he traces his fascination with, and commitment to, the performing arts back to a first trip to the pantomime aged 5, it is unsurprising that he consistently, and visibly, experiences such unbridled joy when joining the audience at a Bush schools performance. One of the highlights of his packed calendar each year is seeing the Bush Young Companies “perform to rapturous applause in the Holloway Theatre!”. He finds their “youthful exuberance” inspirational and uplifting – “it fills me with a lot of confidence because they are the future for theatres!”. He is deeply moved when he hears about their family members becoming regular Bush visitors and theatre goers, as they often do.
“I get excited about projects and productions that engage young people and families, and people who aren’t overly familiar with theatre, and shows them a story and a space they can enjoy.”
His early career was spent as a Stage Manager in rep, and then as a Front of House Manager. To hear him talk about the pride of donning his dinner jacket (blazer only for matinees), and welcoming audiences each evening, one might expect a purist attitude to theatre. Yet in voice and deed he delights in seeing different buildings evolve what being welcoming means; “Every theatre has their own way of looking after their audiences. I love seeing the Bush do it in their particular way, in part because it’s totally different to the opera!”. There is no commitment to tradition or convention, just to supporting organisations that grow the community who enjoy the arts.
“I get excited about projects and productions that engage young people and families, and people who aren’t overly familiar with theatre, and shows them a story and a space they can enjoy.”
In part driven by his belief that theatre must continue to find different audiences, he is a keen supporter of new writing, which is what brought him to the Bush in 2017.
“There are any number of people with new stories that need to be told, and the Bush does it very well! It gives people a platform to communicate their creative ideas to the public. And it’s a place where writers get mentored through programmes and productions, to then go on and have even greater success.”
Over the past 7 years, he has supported the Bush’s work across talent development and community engagement, as well as specific productions including An Adventure by Vinay Patel, A Playlist for the Revolution by AJ Yi, Elephant by Anoushka Lucas, Shifters by Benedict Lombe, My Father’s Fable by Faith Omole, The Real Ones by Waleed Akhtar and Wolves on Road by Beru Tessema. The artists he has enabled the Bush to launch, establish and sustain have won every significant award for a debut play, and represent some of the most exciting voices now writing for stage, screen and radio.
He mentions fondly hearing early snippets of what Shifters might be, after Lynette rushed back to lunch having been on the phone to Benedict. He delights in recalling the infectious enthusiasm of Daniel Bailey when telling him about Red Pitch, a play he was developing with Tyrell Williams. Tyrell and Benedict were exciting to Charles long before their West End debuts. He feels privileged to have connected with them at the Bush while still on the rise, and proud to have supported the opportunities and building that championed them.
On both Red Pitch and Shifters, Charles felt it was “a natural fit” to extend his support from W12 to W1/WC2, becoming Bush Theatre in the West End Season Supporter. Thanks to this generous support, the impact of these transfers stretches back to the Bush and into future generations. He is glad that this gift can “support those things that the Bush wants to do, but which aren’t always possible on commercial production budgets.”
His patronage on Shifters powered the Bush Talent Development programmes which nurture writers like Benedict, subsidised tickets for schools groups to see the show, and ensured the next generation of artists reflects the city we live in by financing an Associate Director and Production Manager role for two individuals from underrepresented backgrounds in the sector to make their West End debuts. His support of Red Pitch @sohoplace allowed Bush values to transfer with the show, subsidising Charles Holloway £10 Tuesdays – an initiative which ensured accessibly priced tickets, an Associate Director position, and relaxed, signed, captioned and schools performances.
In the spirit of Shifters, it’s useful to remember all the possible realities which stand in front of philanthropists like Charles, and all of the supporters who make our work possible at the Bush. He hints that the path towards giving so generously was laid out before him from the very moment that initial pantomime experience sparked such joy. But even if that’s the case, exactly as Benedict writes, “you still have to choose it. To walk it.” and for the sake of British theatre, we’re so glad and grateful he does.
Charles was awarded an OBE in recognition of his arts philanthropy on 29th October, 2024.
Jocelyn Cox, Head of Development, Bush Theatre
