Passion and commitment to touring has been running through the English Touring Theatre (ETT) for 25 years. Founded by Stephen Unwin, ETT has a simple remit: to create outstanding theatre and tour it to the widest possible audience. ‘We believe that touring is the most important thing that an artist in this day and age can do. To reach diverse audiences far and wide,’ the theatre's executive producer, Sophie Scull, tells me.
The company has been bringing quality, classical and affirming theatre across the UK since 1993. After 15 years, Unwin stood down, with Rachel Tackley taking the reins – making the company the UK's first producer-led touring theatre. In 2016, Richard Twyman became artistic director and he works closely with Scull on all elements of ETT's output.
In the early 1990s, Unwin and the company quickly formed a reputation for producing classic works of theatre; re-working Pinter, Chekhov and Shakespeare among others. A Midsummer Night's Dream was its first offering and 25 years later, the company is returning to Shakespeare again with Othello.
‘When we're programming any work, there has to be a real impetus and a real reason to revisit work,’ says Scull, who joined ETT in July 2017. ‘Othello is one of Shakespeare's most contemporary plays. It's a depiction of a world in which racism is allowed to flourish.’
Co-produced with Oxford Playhouse and Shakespeare at the Tobacco Factory, it's a production primed for students and arguably Shakespeare's most relevant work. Its theme of prejudice – Othello is a Moor in a predominantly white and Christian country – resonates deeply in modern Britain.
‘It's exciting and terrifying in equal measure,’ continues Scull. ‘Othello conveys a patriarchal world where toxic masculinity is given absolute free rein.
This and the other issues are prevalent to all of us, no matter what age we are.’
Forge
The company's commitment to all audiences is still at the heart of what they do and although the company doesn't have an education or outreach project, it has been pivotal in encouraging young companies and producers who are beginning the first steps into touring theatre.
For a decade, the ETT Forge programme has been providing peer-mentoring and workshops for budding touring outfits. This year, 39 organisations have registered with the scheme, and Scull and Twyman have also introduced an associate programme. The programme chose three companies or producers who are creating exceptional work, showing commitment to developing touring practice, and passionate about changing and shifting attitudes in the theatre.
Antic Face is an outfit with a goal of addressing the gender imbalance that exists in the theatre industry with an emphasis on young people, helping them on and off the stage. Common is a theatre company who represent those from a working-class background, who find their paths into the sector are often blocked. Finally, there is producer Alison Holder, who has a specific interest in the black British experience.
‘Ultimately, it's about the quality of the output or the potential of the output,’ Scull says. ‘We felt they could bring something to our company and they were all at a point in their development where we could really help them.’
Digital theatre
The ETT also lend their support to new ways of consuming theatre, including digital platforms. The company are one of 26 partners including the Royal Shakespeare Company, The Old Vic and Opera North that support Digital Theatre; a service that streams live performances as well as hosting educational content. The initiative is focused strongly on schools who may find it challenging to take a class to see a show. The project gained traction in 2016, when the GCSE Drama specification was changed so that students did not have to watch live theatre, and analysis of a screened digital recording was deemed sufficient.
The scheme did come in for some criticism from prominent actors – including Tim Piggott-Smith, Robert Lindsay and Meera Syal – who penned an open letter to The Sunday Times, defending live theatre. ‘I understand there are mixed feelings about it,’ says Scull, ‘but I think it is important, and that Digital Theatre are doing it for the right reasons. They really care about improving the learning experience for teachers and students.’
The platform will be hosting extra content from the Othello tour including a short documentary, a podcast and behind-the scenes rehearsal room footage. That said, if the tour is stopping near your school, it would be worth experiencing the play without the use of a browser. The ETT's version of Othello feels like an important piece of art that deserves our full attention.
Full details of the Othello tour can be found at ett.org.uk/whats-on/othello/dates-tickets