Ali Warren flies the flag for amateur theatre, urging us to recognise the many virtues and benefits of the amateur community – whether as a spectator or a participant.
In a recent article in The Stage, Richard Jordan challenged the prejudice that exists when people think about the amateur theatre. In a world where arts funding is limited and professional bodies are being forced to reduce their access for economic reasons, ‘amateur dramatics societies, like schools, have a key role to play’, he says, ‘though professional theatre often fails to recognise this important part of the ecology’.
He's not wrong. Despite the snobbery about ‘amdram’ that is part of the artistic landscape, the amateur, voluntary or community theatre (you choose what you want to call it!) has a lot to offer. My involvement with the Little Theatre Guild has given me access to amazing productions of quality work and contact with some of the most exciting and experienced people that I have encountered in any theatre, anywhere.
The Little Theatre Guild (LTG) is a support and networking organisation for amateur theatre companies across the country. Its theatres are independent, with regular programmes of performance, and are non-commercial but often welcome small-scale touring companies, run youth theatres and host film clubs and National Theatre Live.
The thing to remember is that most amateur theatres are producing a minimum of three productions a year. This is often very challenging and modern work, at very high standards, right on your doorstep. And all of this work is being done by volunteers. Amateur theatre is produced for the love of the art form, and in some ways that makes the performances even more special.
Let's take one example of how amateur theatre works to offer opportunities to all: youth theatre. A number of professional venues offer opportunities for young people to engage with theatre and, of course, there are a number of opportunities at private organisations, but this is also the case at amateur theatres across the country. Here are some examples to give you a flavour, and perhaps inspire you.
I spoke to Diane Hogg at Wokingham Theatre. Wokingham runs sessions for young people aged from age seven to eighteen, and they have a number of performances supported by the members of the theatre. All of the sessions for the young people are in the theatre, which Diane believes gives them a sense of the stage as a theatrical space, and gives them a strong connection to a working theatre. It happens very quickly, apparently, but the relationship is long lasting. A number of current members of the adult theatre, including some of the tutors who run sessions for the youth theatres, are former members of the youth theatre.
Diane also believes that there is enormous value in the interaction between the main theatre members and the youth theatre youngsters. They are encouraged to meet with all departments at the theatre. This gives them friendships and working partnerships across a wide range of ages – something that may not happen in other walks of life.
The biggest challenge facing the youth theatre scene is safeguarding. The need to make sure all members of the theatre community are safe and have confidence in the place as a safe space and ‘a home for many people’. The regulations are complicated but amateur theatres treat them with as much seriousness as the professional.
One of the reasons amateur theatre works so well for so many people is that it is very much a communal exercise. Most amateur theatres are overseen by a governance system that allows all of the people connected to the theatre to have their say. Most of these management groups include youth representatives, so they have their interests considered directly. There are not many professional theatres (or even schools for that matter) that allow all voices to be heard. All of the youth theatre leaders I spoke to mentioned their growing involvement with the LGTBQ+ communities in their area, and how they are supporting them to find their own voice through theatre.
In a conversation with Jason Lower at the Oast Theatre in Tunbridge, he placed emphasis on the enthusiasm he has, doing a job he loves. ‘I made my hobby my job,’ he says. And he's fortunate in that, but – like all hobbies – the hours that people are willing to put in often exceeds that which is possible in a professional theatre setting. Jason commented: ‘I think we make a difference. I've realised how much we help improve communication.’ Diane agrees: ‘We enforce a rule about putting mobile phones in a box during rehearsals. Two hours without screen time – voluntarily – is good.’
Amateur theatre can also be very ambitious. If you think that the programmes for your local community theatre are limited to old warhorses like The Importance of Being Earnest or some Agatha Christie, you might be surprised by the choices being made. Last year (2024), some of the most common plays performed in amateur theatres included Things I Know to be True, Home, I'm Darling and Constellations. Many theatres have their own writers’ groups to present new writing and all the youth theatre groups I spoke to looked at involvement in the National Theatre Connections Festival, or performances at the Edinburgh Fringe Festival.
Backstage roles are also available for exploration by all members of a theatre, including youth theatre. And these roles are not just technical – publicity, stage management and front of house all need support. Such a wide range of opportunities are not so widely available even if you have access to the most open of professional venues.
So, when you're trying to help learners in your class grow beyond the classroom, or when you're looking for a production for your class to see, or even if you're thinking of getting back on to the stage yourself, have a look at your local amateur theatre. I can guarantee you will be welcome!
littletheatreguild.org