NEW ARTISTIC DIRECTORS
TOBY HAMPTON & LAUREL MARKS
by Heather Jeffery July 2024
Photography: Cam Harle
There’s a rapport between new Artistic Directors Laurel Marks and Toby Hampton and they complement each other like beer and chips or champagne and caviar. Given their enormous range of skills, they could play any role, which is extremely good news for companies coming into the space. Whatever skill is needed, they’ve been there and done it already.
The Hope Theatre has built up a terrific reputation for excellence, off the back of former Artistic Directors, Matthew Parker who ran the venue for five years, Kennedy Bloomer who looked after it during the Covid years, and Phil Bartlett who maintained the high standard expected at the venue.
“We’re excited and flattered that we’ve been given this opportunity” say Toby, “and we intend to use it responsibly, with care and for the benefit of other people”. It’s a mission statement that is seconded by Laurel. They are very much building on Matthew Parker’s legacy of excellence and the extraordinary Kennedy Bloomer who kept the theatre going during the Covid years, raising £150,000 and running a film series, THE HOPE AT HOME, hiring 30 or 40 creatives when work was scarce.
Toby and Laurel got into theatre in different ways. Laurel was a dancer who trained with Tring Park from ten years old before going onto drama training with Fourth Monkey in London. “I just wanted to be in the theatre” she beams. Toby says she’s a “brilliant actor” and he’s already cast her in an upcoming play that he will be directing. Laurel’s ability as an actor is not in doubt as she recently received an LPT Standing Ovation Award for her role as Cecilia Payne in HOLST: THE MUSIC IN THE SPHERES (Arrows and Traps Theatre Company at Jack Studio Theatre).
Toby says that his route into theatre was “really boring … similar to everybody else” and that he did some “theatery stuff at school”. He remembers the thrill of making people laugh in a school play when he was 7 or 8. “As I’ve got older and maybe grown up a little bit, I maybe have less of a desire to make people laugh” he says with a little irony. “It’s the achievement of actors I’ve worked with at early stages of their career that fills me with the greatest amount of joy.” He’s grateful for the belief that people have had in him. “Without those individuals and this building, I think I would be doing something else,” he says.
The pair met when Matthew Parker was directing THE HOUSE OF YES. Toby was the producer and Lauren was stage managing. “We got on quite well during that,” says Laurel. Then Laurel was producer for THE HOPE AT HOME while Toby was the coordinator and production manager. “It became fairly clear that we were going to be working together quite a lot,” grins Laurel. They message each other whenever there is something tricky, whether creative or technical. They each think that the other will know how to help.
They’ve also worked together as actors, as they were also cast in THE GROTTO (written by Toby and directed by Mr Parker at Drayton Arms) and they co-designed the set for 21 ROUND FOR CHRISTMAS (co-written by Toby and Matt Ballantyne). They are both astonished that they were nominated for an Off West End Award for their design. “It was a kitchen; it was a lovely moment” laughs Laurel. “Our relationship in theatre has always been very interchangeable and flexible and malleable; there’s not really a job that one of us can’t do” adds Laurel, “but we thought it was set design, but it turns out it’s not”.
They both have a connection to North London. “I’m from somerset”, says Laurel. “Mrs Guppy” teases Toby. “No, no, I’m not doing that” says Laurel. She’s been living in Holloway and Finsbury Park for the last seven years. “In Harringay, more for price purposes” she admits. Whereas Toby is local to the North London area, born in Enfield. “In Chase Farm hospital on 1 January 97, so I was a New Year baby,” he adds proudly. He now lives in WHETSTONE and supports Barnet Football club (BRING BARNET BACK!). Laurel chips in to explain that she’s never felt affiliated to a place until she became an Arsenal fan. “Now I feel very entrenched in north London.”
There’s plenty of expertise here, with Laurel having experience as director, lighting designer, stage & production manager. She’s currently technical manager at The Hope and has been helping Toby to learn the craft. “Teaching me where things plug in and where things go, that’s 60 percent of it” laughs Toby as Laurel looks on with disbelief. Toby worked at The Hope as Theatre Assistant and Associate Director (2018 - 22) and the Deputy Artistic Director (2020-22). Aside from his work at The Hope, Toby has been producing and directing high-quality work which most recently includes a run of his 21 ROUND FOR CHRISTMAS at Park Theatre.
The pair will be bringing an in-house show for Christmas, this time it will be an adaptation. It might seem obvious that Laurel will be cast in the show but whilst she has “always loved acting” she admits that she gets “itchy feet” quite easily. “It’s not a never again thing, if something crops up ..." Here Toby steps in, like a double act. “Mrs Guppy” he says to Laurel and watches her squirm, “and I want you to do it in a West Country accent”. Laurel isn’t having it. “You’d soon ask me to stop” she says. Toby has been approached by Unleash the Llama to direct IN DEFIANCE OF GRAVITY by Saul Boyerand and he has cast Laurel in the play. It’s an Ed fringe preview showing at King’s Head Theatre (16 – 20 July) and will go to Summerhall for the whole of August.
The pair will be back to start their roles as Artistic Directors at The Hope in September. Although they are both in their mid-twenties, at an early stage in their careers, they don’t want the appointment to be about ‘them’. They both agree that they want “to give a bit back to a theatrical community”. The pair are programming a mix of new writing, re-polished classics and innovatively staged musicals. They also plan to bring semi regular events, scratch nights and comedy.
Personally, their tastes in theatre are poles apart. Laurel says she likes “weird stuff” and to be able to “walk away from a show knowing something I didn’t know before”. She’s a huge fan of documentaries. “I know I’ve really enjoyed a show if I’ve been googling for about an hour when I got home, that to me is a good show” she explains. Toby says he’s “really shallow” and that he likes to “leave a theatre feeling entertained and emotional”. He is aware that it isn’t always a quality issue, as he can see something “technologically very brilliant but leave feeling very cold”.
Laurel’s favourite ever show is PEOPLE, PLACES AND THINGS by Duncan MacMillan. “There’s a room filled with people from all different backgrounds and it’s the first play I’ve seen that makes me feel, ‘oh this is what theatre can do’.” On the other hand, Toby’s favourite is THRILL ME: THE LEOPOLD AND LOEB STORY by Stephen Dolginoff. He tells a story: “I was cacking my pants, I thought ‘I’m cack at my job’” he says. He was assistant director to Matthew Parker and was supposed to give feedback after the second preview. “It’s perfect, I don’t have any notes” he told Parker. “I don’t either” was the response. The show went on to win an Off West End Award and got a second run at Jermyn Street Theatre.
The Hope Theatre has an excellent reputation which has brought in a large number of high-quality applications to perform at the venue. The programme has yet to be announced but it promises to be in safe hands with Toby and Laurel.
- The Hope and Anchor first opened its doors in 1880.
- The Hope and Anchor pub is world famous for its music venue downstairs.
- The pub was also featured in the 1980 film, Breaking Glass.
- Opening in 2013, The Hope Theatre was originally a sister theatre of Islington’s King’s Head Theatre (opened by Adam Spreadbury Maher), renovated from a function room above the famous Hope & Anchor pub and music venue into a black box studio theatre. Two major flagships were to put in place: the first, an Equity agreement and the second an experimental theatre aiming at giving a stage to new writing.
- Matthew Parker was Artistic Director of the Hope 2014 - 2019.
- |Under the direction of Matthew Parker The Hope Theatre has transferred two productions to the West End: ‘Ushers’ to the Charing Cross Theatre and Snoo Wilson’s ‘Lovesong of The Electric Bear’ to The Arts. It was a finalist in 3 categories at the Off West End Awards 2015 for ‘Lovesong of the Electric Bear’ and has been home to many world premieres including Joe Orton’s ‘Fred and Madge’. It has also had many OFFIE nominations and is winner of two OFFIES since opening in 2013.
- The Hope Theatre was awarded runner up to LONDON PUB THEATRE OF THE YEAR in 2019
- Kennedy Bloomer was Artistic Director during the Covid years (2019 – 2021). Amongst other achievements she raised £150,000 to keep the theatre going and ran a film series, THE HOPE AT HOME, hiring 30 or 40 creatives when work was scarce.
- Mike Bartlett was Artistic Director 2021 – 2024 maintaining the high standards of shows expected at The Hope.
THE HOPE & ANCHOR ANNOUNCES NEW ARTISTIC DIRECTORS OF THE HOPE THEATRE
1st May 2024
The Hope & Anchor is delighted to announce the appointment of Laurel Marks and Toby Hampton as the new Artistic Directors of The Hope Theatre.
Laurel Marks is an award-winning theatre maker who has expertise in almost every aspect of the theatre industry. She is an actor, director, lighting designer, stage & production manager, set designer and much more as well as being our current technical manager for The Hope Theatre; a role she has held since January 2022.
Toby Hampton is an award nominated director, writer and producer and a local to the North London area. He will be returning to The Hope Theatre where previously he has been the Theatre Assistant and Associate Director from January 2018 before becoming the Deputy Artistic Director from January 2020. Aside from his work at The Hope, Toby has been producing and directing high-quality work which most recently includes a run of his 21 Round For Christmas, co-written with Matt Ballantyne at Park Theatre.
Laurel said: "I'm thrilled to be taking on a new role at a theatre that has given so much to me over the past few years. The Hope Theatre has produced brilliant productions that feel much larger than its actual dimensions time and time again. I'm so excited to work with Toby on bringing in a wide range of creatives and their new, bold and vital work."
Toby said: "I'm so excited to be returning to The Hope after a short time away. This theatre has played such a large role in my career development and I'm looking forward to giving that back to the talented and hungry creatives that bring their work to our stage. We are committed to providing a safe space to make daring work and I can't wait to get started."
A spokesperson for the Hope & Anchor pub said "We are very excited for Laurel and Toby to bring their extensive experience of the industry and love of our venue back to The Hope Theatre."
Laurel and Toby will take up the role from 9th June 2024 and are now programming work for their first season from September 2024 onwards, following a brief closure of the building over the summer for planned renovations. Any theatre makers who wish to submit a show for programming consideration, please visit
http://www.thehopetheatre.com to check the submission process and email your pitch to Laurel and Toby via thehopetheatresubmissions@gmail.com
ARCHIVE INTERVIEW WITH PHIL BARTLETT, Artistic Director at The Hope Theatre 2021 - February 2024 by Heather Jeffery
“I want to remind people that we’re here again, in the story-telling-theatre-making-business, with work that is bold, surprising and has something to say about the world we live in now.”
Phil Bartlett officially took over as Artistic Director in September 2021 inheriting a highly respected theatre which after being closed for 18 months is now rising once again. On meeting him for the first time, it’s quickly apparent that here is a personality with a huge amount of energy and enthusiasm for the work. “I felt very lucky to get the job” says Bartlett modestly, “I have wanted to run a theatre venue since my early 20s and it feels like this opportunity has come along at just the right time.” His work as Resident Assistant Director at Theatre Royal Plymouth has given him valuable practical experience of running a building.
Originally, Bartlett studied English before training as a director at the Royal Conservatoire of Scotland. “I’m no performer,” admits Bartlett. “I have a huge respect and admiration for performers, it’s the hardest job in theatre, to get up and expose yourself (metaphorically) - directing is much safer.” He prefers to have time to prepare and is quite happy to “hide in the back of the auditorium.”
Bartlett is so disarmingly honest that it’s hard not to fall in love with him. He mentions that coming into his role at The Hope has been in some ways more challenging than he expected. “Running a fringe theatre, trying to safety proof it and programme shows, with constant fires to put out even without all the pandemic stuff” he explains with a huge grin on his face. He is following in the footsteps of former Artistic director Matthew Parker whose career as an Award-winning director continues to flourish. Most recently The Hope was run by Artistic Director Kennedy Bloomer who had a roller-coaster 18 months keeping The Hope afloat financially and pastorally during lockdown (interview below). Big shoes to fill but Bartlett is well chosen.
He has a clear idea of the work he wants to programme and the kind of direction he wants to steer The Hope. “It’s important to be planning a year and more ahead, with a long-term strategy” he explains. “It’s a really uncertain time as we’re not out of the pandemic yet. Lots of companies have great ambition but they’re struggling with funding as lots of the usual funding was spent during the pandemic, so sources are hard to get hold of.
The Hope has an Equity house agreement and Bartlett is “very proud” of this, but it gives producers a tall challenge to make budgets work. “It’s having that awareness that a lot of producers are up against it too” he explains, “finding ways to make sure everyone is legally paid and still get the work on.” The Hope has for some time been programming two shows a night but he has made the decision to switch back to one show. “This space often works best with shows that really transform the room with the design and staging” says Bartlett “so moving forward it felt important that companies know they have total creative freedom to use the space how they wish.”
From January onwards, Sunday and Monday will once again be programmed with two-night runs of exciting emerging companies. These slots are conceived for artists who are ready to test their work in front of an audience but are not yet ready for a full three week run. “I have no interest in running The Hope as a hire venue” says Bartlett. “We want to have a relationship with companies who might bring a show for two days and later on have a full run – we want to nurture those shows.”
“Artistically, the work is in their hands” explains Bartlett. “But we can be supportive and help with other things such as marketing, and in terms of companies not ready to bring a show, the door (and my inbox) is always open - pop in for a coffee” he suggests.
Well-received shows might also get a second run at the theatre. They recently had a phenomenal success with SKIN TIGHT by Southern Magpie. Bartlett tells the story of how it was originally staged at The Hope in 2017 and did really well. “So, when the director Max Kirk, called and said he’d seen there was a gap in the schedule in October, could he have it?”, Bartlett replied, “Absolutely you can.”
The future programming will also include a number of in-house shows every year. “Fever Pitch did phenomenally well” says Bartlett. The show (directed by Kennedy Bloomer) was about a passion for local football team Arsenal and the theatre was full of local supporters. “A large proportion had never been in the theatre before” says Bartlett “and we had Arsenal fans saying ‘it was like seeing my life on stage’.”
The kind of work that Bartlett is keen to stage at the Hope includes plays that have had a life outside of London or the UK. “Plays that for whatever reason haven’t made it to London, or haven’t been seen here since their first production maybe 10, 20, 30 years ago.” He believes that audiences like to be entertained but also like new experiences, something distinct or unique.
He is conscious of being a fresh pair of eyes on the theatre. The Hope has a long history as a music venue, mostly punk and rock. “I’m keen that the programme feeds off that energy” says Bartlett. “There are often older punk rockers in a gig downstairs, the local crowd are keen to have drinks or dinner in the pub, and upstairs there’s the theatre crowd. The Idea that we can all gather in a room together and have a shared experience” he says “it’s the privilege of this job at The Hope is that I can facilitate those things happening.”
Going forward Bartlett has plans which are not yet announced but will build on such ideas as offering residents discounts and even free tickets for certain performances and introducing matinees to attract a different crowd. He is also keen to enable R&D sessions for theatre makers who want to engage with The Hope, cheap rehearsal space and workshops.
No spoilers but Bartlett enjoys working with young people and teaching young adults. “I’m a real fan of how open young performers are and the passion and energy they’ll bring into the rehearsal process.” We can be sure that he is keen to give opportunities to young performers and likewise to young creatives, producers and directors. “Hopefully it’s a venue where those kinds of people can make their first steps in creating” says Bartlett.
Getting this job felt like a dream come true to Bartlett. “It’s a very rare opportunity that I was very keen to grab. To uphold the theatre’s great reputation, refocus it in ways that I find interesting, make clear the door is open.”
“I’d like the building to be a busy as possible as often as possible not just for performances, but creative conversations … relationships forming, ideas brewing. “I want to remind people that we’re here again, in the story-telling-theatre-making-business, with work that is bold, surprising and has something to say about the world we live in now.”
25 November 2021
The current programme of shows can be viewed here
KENNEDY BLOOMER STEPS DOWN August 2021
The Hope Board of Trustees has announced that Kennedy Bloomer will be stepping down as the Artistic Director of The Hope Theatre in August 2021 to pursue a career in teaching and theatre fundraising. Before she leaves, she will direct her first and last in-house show in September, with details to be announced.
Kennedy was appointed in August 2019 to take over from Matthew Parker, taking over the role in January 2020. Two months into her Artistic Directorship the theatre was forced to close due to the Covid-19 pandemic.
Kennedy Bloomer said, "It was devastating, a real blow to the plans and future I saw for the theatre.” Closed since March 2020, this acclaimed 50 seat pub theatre in the heart of Islington plans to reopen to the public on 29 June at full capacity, in accordance with the government’s roadmap.
Kennedy says, "It's a really bittersweet moment to be leaving The Hope after such a rollercoaster of a time. The staff, our patron and the Board of Trustees have been my rock throughout this past 15 months and also have fully supported me. “
“The Hope Theatre gave me my start as a Theatre Assistant and is the most special venue with captivating productions and I can't wait to see what the future has in store for it."
Hope Theatre Patron Paul Clayton said, “In so many ways Kennedy has been the saviour of the Hope, helping it hang on in there in a very difficult time. However the Hope goes forward, it owes a great deal to the fabulous Kennedy Bloomer. She’s a marvel!”
Opening in 2013, The Hope Theatre was originally a sister theatre of Islington’s King’s Head Theatre, renovated from a function room above the famous Hope & Anchor pub and music venue into a black box studio theatre. The Hope Theatre has transferred two productions to the West End (Ushers to the Charing Cross Theatre and the Snoo Wilson's Lovesong Of The Electric Bear to The Arts) and has been home to many world premieres. It also housed the professional world premiere of Joe Orton’s Fred And Madge.
The Hope Theatre is a place for audiences and companies to explore BIG ideas. It nurtures and develops new producing models, working with exciting companies to present a mix of new writing, lost gems from well-known writers, re-polished classics and innovatively staged musicals.
Although The Hope Theatre has received no regular public subsidy since its 2013 opening, it was the first Off West End venue to open with a house agreement with Equity. This ensures a legal wage for all actors, stage managers and box office staff working at the theatre.
In 2020, Kennedy Bloomer became Artistic Director of the theatre and navigated the theatre through the global Covid-19 pandemic and total closure by taking The Hope Theatre online.
The Hope Theatre was successfully granted funds from the Arts Council England Emergency Response Fund, the ACE and DCMS Culture Recovery Fund 1 and 2. The Hope Theatre team would like to gratefully acknowledge the role that this funding has played in enabling the venue to survive and reopen this summer.
ARCHIVE INTERVIEW WITH KENNEDY BLOOMER on her rollercoaster tenure as Artistic Director of The Hope Theatre
By Heather Jeffery
Kennedy took on the role of Artistic Director (AD) of The Hope Theatre in January 2020, two months later the theatres were closed down due to the pandemic. She jubilantly re-opened The Hope on 29 June 2021 with a full season of shows including in-house show FEVER PITCH (opening 31 August) which she will be directing herself. The play is all about a passion for football which Kennedy shares; the highs and lows which nicely reflect her time at The Hope Theatre. Her decision to leave The Hope to pursue a career in teaching and fund raising has come as a shock to the industry but it is a credit to all the things, she has learnt during her time at the Theatre.
When Kennedy was the incoming AD, she had grand plans for her first season of shows. When news started to filter in about a pandemic in China, Kennedy began to wonder whether the Hope would be forced to close. “I felt really weird.” It was the lead up to THE FOX, an adaptation of D H Lawrence but Kennedy was worried about what was happening globally. “It was not looking great and so I started putting systems in place” says Kennedy. Closure left her with staff salaries to think about, and the welfare of the companies who had been preparing their productions. “How do I make sure everyone is okay pastorally and financially?” One of her major concerns was making sure everyone’s mental health was okay. "There were so many people turning round and saying to me "I don't feel good at the moment" says Kennedy.
The Hope Theatre was closed for 15 months as it could not open until the pub opened. The lowest moments came during Lockdown, but good things also happened. “The unity that it brought” says Kennedy “it opened conversations and people were so supportive”. Independent theatre directors communicated through zoom (organised by Society of Independent Theatres). This allowed everyone to share “bits of information and advice.” Kennedy also had her private network of friends from Jermyn Street Theatre where she used to work and also “Audrey at Drayton Arms and Velenzia at Bread and Roses” as well as many others. “Too many to name” says Kennedy “dropping a little text or a twitter message”. The local community response was also terrific.
There were other highs, when Kennedy raised funding; three grants which enabled The Hope to give people work during lockdown and to reopen the theatre. “It took me three weeks to fill in the first application form, double checking it” remembers Kennedy “I knew it had to be perfect before putting it forward.” Kennedy has a smile dancing on her lips as she adds triumphantly: “Then we got it! Very, very grateful.”
This resulted in THE HOPE AT HOME, short plays on video free to view, one of which has been extended to a full-length production for The Hope’s Christmas show, 21 ROUND FOR CHRISTMAS (by Toby Hampton). Kennedy also instigated industry workshops and interesting content on twitter, reaching out to audiences.
Whilst we are all disappointed to lose her input as Artistic Director of The Hope, Kennedy’s plans for the future will make very good use of the grounding she has received during her two years at The Hope. While she was preparing for her MA in directing at Mountview she had a temporary role as a drama teacher at a secondary school. They wanted her to stay and train with them. However, Kennedy knew she would be a better drama teacher after getting hands on experience and learning more about the industry.
“I adore directing” she says, “but the hope has taught me that I love to mentor, to support and guide people”. During the pandemic she began thinking more and more about “drama being cut off the curriculum; a generation of students not being able to access that, not going to know about the industry”. She points out that there are so many different roles within the industry and is clearly outraged that this is being overlooked. Moving forward she says: “I wanted to be a part of that long game; have experience with secondary school children, now that I’ve worked with industry professionals. Build up a Trust to fund non-commercial fringe productions without the risk of bankrupting everyone.”
“That’s the dream” says Kennedy with passion “to fund the talented people that have no money, who don’t have producer friends, no rich family.”
“I’d like to open a Trust or Foundation to give support” explains Kennedy, “20 years from now.” She believes that if theatre is going to continue these people need to be given a chance. “So many talented people don’t have access to opportunities: Free tickets are available, but no one is giving people £100,000 for free”.
Kennedy has clearly grown stronger through her experiences at The Hope
ARCHIVE THE HOPE RETROSPECTIVE
Interview with Artistic Director Matthew Parker 2019
WHAT GOES INTO THE MAKING OF A SUCCESSFUL PUB THEATRE?
Interview with Artistic Director Matthew Parker
At the end of this year Matthew Parker will be moving on from his role as Artistic Director of The Hope Theatre in Islington. During his tenureship he has taken The Hope to prominence with high artistic quality and professional standards.
Chatting with Matthew Parker, who has been running The Hope for four and a half years, it becomes clear that it is tough at the top. The level of commitment and sheer hard graft from the one at the helm is paramount in getting the attention of the press and securing a loyal audience base. Furthermore, some of the choices of productions here at The Hope Theatre, have been extremely courageous.
In particular, Parker’s in-house shows have shown that he is made of the kind of stern stuff, that won’t shy away from difficult topics. Parker’s work as a freelance director has had to play second fiddle, but nevertheless he has continued to stretch his own artistry by making several award-winning in-house shows to blow your mind. There is nothing pedestrian about his productions at the Hope, and to prove it, at the time of this interview he was working on his in-house show THRILL ME: THE LEOPOLD & LOEB STORY (2 – 20 April).
So, what does Parker have to say about it all?
For starters, Parker is at every press night at The Hope to support the in-coming companies and be there for them. “They’re nervous … stressed, and I’m a calming influence… hopefully! It’s all about building a relationship between venue and press which I’ve done over the past four years. I know lots or reviewers and lots of press. I have cemented a relationship.” To prove it he reels off the names of three of our reviewers; he knows Sian and Richard and seems particularly keen on Andy who’s just awarded the last production a glowing four-star review. “It’s still a struggle to get national press” says Parker “they tend to turn up out of the blue if something piques their interest.” There is so little money in reviewing so that the national critics are really stretched. Parker is well aware of the importance of feedback to develop audience appreciation of the quality of the work at The Hope.
Parker has garnered many accolades for his work at The Hope. He won Best Artistic Director at Off West End Awards 2017 and was Fringe Theatre of the Year Nominee at The Stage Awards in 2017. He’s also had 5 Best Director nominations at the Off-West End Awards. The first of these LOVESONG OF THE ELECTRIC BEAR (2015), about Alan Turing, which was his first in-house show at The Hope and later transferred to The Arts theatre in the West End. He often mentions this as his seminal work.
Prior to taking on the Hope, Parker was directing his own work at various fringe venues for around five years, so he understands what it’s like on the other side. “I took all the things I thought were great and noticed lots of things not so great”. He emphasises the need for no bullshit but wouldn’t qualify the bad things he’d seen because he firmly believes in a piece of advice his mother gave him, “if you can’t say anything nice, don’t say it at all”. He believes it’s all about a good collaboration between the company and The Hope; everything from box office splits to working together for the success of the show. “I won’t shy away from having difficult conversations because the venue is only as good as the last show. It only takes Islington resident A to come and see something they think is shit and they’re not going to come back. I made sure that the whole process for a visiting company is as clear and transparent and as detailed as they possibly can be, so they know what do, the deadlines, how to move forward in a professional manner. We have companies here who are experienced and others who have never put on a show before. I’m here to help them through the process.”
Parker looks for a positive attitude from incoming companies and uses adjectives such as brilliant, sparkly, shining and positive to get the point across. “If you are good at what you do and are passionate about what you do, the show doesn’t have to be my taste” … there’s a little pause here for effect … “but the company does”, he ends on a flourish.
It isn’t only the in-coming companies who have benefited from their time at The Hope, Matthew’s life has changed so much. “Before, I did decent work with the occasional 5-star reviews. My career and The Hope went on an upward trajectory together. My career as director has been hugely noticed since being at The Hope and I’m proud of what I’ve managed to achieve as an artist.”
“The thing I love about my job. We have companies here who have never done a show before or, it’s the first ever play they’ve written or first time they’ve directed. It’s watching someone’s success, that’s so lovely. The thing I’ll miss when I go is having my hand on a door handle which can open the door for them. I’ll miss that because I know that I’ve been part of an artist’s development. Stars and awards are incredibly important, but this is the icing on the cake; working with other creatives and moving their careers forward - that’s the cake.” Parker works with a small team who are crucial to the overall success. The Technical Manager (Tim Hofmeier), the Associate Director who looks after the Sunday and Monday slots (Luke Adamson) and a Theatre Assistant (Toby Hampton) who helps operate the day-to-day running of The Hope. “The stock checking, box office rotas, weekly administration that would take two days out of my life. He is the flour in the cake, to extend the metaphor!”
Parker isn’t giving anything away about who will be succeeding him at The Hope. He insists that there will be an open recruitment process in the summer. “I am grateful to have been working here, every time I realise that The Hope has created a lovely memory, for audience, critic or company.” But success has not been easy. “I’ve learnt a huge amount. I didn’t know how to run a theatre, I didn’t know whether I’d be able to. In my head I thought I could and really wanted to. It taught me just how tenacious I am. I always want to find a solution.”
So why is Parker moving on? His recent experience of working in the rehearsal rooms might have something to do with it. “I want to take more time thinking about being creative. First and foremost, in directing, but also with movement and choreography.” Recently he was choreographer for Kate Bannister’s Cinderella at the Jack Studio Theatre and movement director for Ross McGregor’s Taro (with thirteen-time OFFIE nominated Arrows and Traps repertory company).
“Being in someone else’s rehearsal room, with Kate (Bannister) and Ross (McGregor), with other people being creative is my favourite thing. I want to do more of that. I spend 80 percent of my time managing companies, bringing shows to The Hope. I have very little time to develop as an artist. My own ambition is that I want to work outside of the London fringe.”
Parker was Associate Director for 2 years at the Brockley Jack. “It’s a good theatre and I learnt a hell of lot because of Kate. The support goes in both directions. I often attend her shows’ dress rehearsals and she’s bee at mine, giving notes – we support each other a lot.”
Parker sees all the dress rehearsals at The Hope and give notes on them. “I think it’s useful to have an outside eye at a dress - to help see the wood for the trees - I always have a director mate come do this at my own dress runs. With the incoming companies at The Hope I only know the script which I read maybe 8 months ago. So, I see it with fresh eyes and I’m honest about how a play comes across, how best to use the space because I know it better than anyone else knows.” Parker doesn’t have room for egos. He leans forward. “I don’t have all the answers but I have been running the space for 4 years. People who won’t listen are difficult. It’s a collaboration. If they’re not going to listen, just going to say no, then we’re going to struggle.” He sits back. “So I say Do what you like with these notes but these are my honest notes. Occasionally the notes have to be actioned for safety or reputation of the theatre.” But tonal notes he concedes are different and he will leave them up to the director to use as they wish.
Over the years Parker has been running The Hope he has become a force to be reckoned with and he’s quite willing to shout about it. “We have punched our way up to be seen alongside the big hitters like Theatre 503, Old Red Lion, the Finborough, winning awards, getting (some) national press coming in. In the early days we would not be known at all, really struggling to get companies in, for us to be a destination for theatre makers, audiences, press. Now we’re known for quality. Entirely because of my endeavour; making sure I’ve got the right shows in there.” It also goes across the board, with all the things he does with branding, the logo, the tag line and how to communicate the brand. The Hope Theatre recently won the people’s vote OFFIE Award for Social Media. “How I communicate across social media and how I make the place seem welcoming - that has attached my personally to the venue so it’s not a faceless room above a pub. That’s why I have to go now because my name and The Hope are intertwined, and I want to be known first and foremost a director.”
Parker really is a man throwing himself into it, making bold choices. “Go big or go home. This is who I am, this who I stand for, this is my entire idea of theatre, venue and style.”
His taste for theatre is theatrical, its heightened naturalism. He wants the audience to ask questions of themselves. His choices are often really brave. In May 2017 he staged the 40th anniversary revival of Dennis Potters controversial masterpiece BRIMSTONE & TREACLE. The production garnered a staggering amount of 5-star reviews and 2 Offie Award nominations. Not bad for a play uncovering the insidious nature of paedophilia. His next play comes with an even scarier scenario. Parker elucidates. “THRILL ME is a two handed, true crime gay musical about the notorious 1920s Chicago ‘Thrill Killers’ Leopold and Loeb. It’s about a relationship between real people. What could possibly have drove these two feted rich young men, who had the world at their feet to abduct kill and torture a child when they were not much more than children themselves.” Whilst Parker is fascinated to find some answers, he knows exactly how he approaches all his work.
“Joy. A lot of joy. Anyone who works with me, takes that away. If you ask them what do you remember at the Hope, the word will be joy. I want them to enjoy but I want to bring joy to the stage. I want the joy of performing to be there. Whether or not the subject matter should be dark.” Parker thinks if he set up his own acting school is would be “Joy of Acting”.
It helps that the Hope black box space lends itself to working in different configurations (although never end on). Parker is also helped by having a strong background in physical work, and physical storytelling. He wants to make it clear, and make sure people can see the actors. At the same time he learns from his actors. “Every one is different. In the end it’s what we create in the room. I have no problem being in charge, I make the final decisions.”
He doesn’t go into the rehearsal rooms with a plan of what he’s going to do other than ‘today we’re doing this scene’. “We just see what happens” says Parker. Considering THRILL ME was his first musical, he’s learning as he goes along. The cast burst into song as part of the dialogue. Music and sound are so important to Parker because he has a background in dance and music, but he’s never done singing in a scene before. He will work closely with Musical Director Tim Shaw. 70 percent of the show is scored, written for a solo piano. “This bit of underscoring lasts from here to two and a half pages of dialogue later, so it’s how to fit the music to the dialogue. Music is dictating a lot more that I’m used to”. He says that tonally he doesn’t know what it is yet but then starts to throw out ideas. “The music is very atmospheric. I’m taking quite a dark, literally dark, absence of light, what lurks in the shadows.” Whilst he’s always scared of everything, this is the 8th show he’s chosen to do at the Hope to stretch and challenge. His nervous excitement is palpable. “What’s really interesting” he adds “there’s no comedy, everything I do has comedy in it somewhere so it’s going to be really interesting for me; how I find the joy.”
Of course, it also helps that Parker pays hard cash. He has worked wonders with a small budget to get the best actors and creatives and works alongside Equity to ensure a legal wage for all actors, stage managers and box office staff working at the venue. No small feat for a 50seat theatre. When the Hope was first set up it was a beacon for new writing and for its equity agreement. Whilst the new writing agenda has been expanded to include any sort of play including classic, the Equity agreement remains and Parker has regular meetings with Equity to make sure the contract is working and to make any necessary changes to the agreement.
After THRILL ME, Parker might have one more in-house show up his sleeve before the end of the year. Then he’s off to new ground - but he doesn’t know where yet. One of the people hardest hit by his decision to move on is James the Landlord of the Hope & Anchor pub which hosts The Hope Theatre. “We are nothing without the landlord who we work alongside. I would not be here without him.” He is so thrilled with their relationship that he would recommend anyone who fancies being an Artistic Director to find a pub and ask to set up a theatre in their spare room. “From the minute people walk through the door it is a fun experience and that starts in the pub.”
Matthew Parker was interviewed by Heather Jeffery, Editor of London Pub Theatres Magazine
@April 2019 London Pub Theatres Magazine Limited
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We are very proud to announce that LONDON PUB THEATRES MAGAZINE is now an OFFIE AWARD WINNING publication
A ONEOFF Special Award has been awarded to London Pub Theatres Magazine and Editor Heather Jeffery for providing a vital forum for highlighting the excellent work that happens in rooms in pubs, with sensitive editing, and an acute sense of the importance of tiny fringe venues to the health and development of British Theatre