INTERVIEW:
ANTHONY SIMPSON-PIKE on his inaugural season of plays opening at THEATRE503 February 2026
By Heather Jeffery 14/01/2026
Anthony Simpson-Pike’s first season as Artistic Director at Theatre503 opens in February with Donbas, which he is directing himself. So, where has Anthony found the inspiration, how far is he looking to his own experiences, and how far is he reaching out to the wider world?
Anthony is working alongside Executive Director, Emily Carewe, giving them a shared responsibility. The first change that the pair have made is that they are now producing and co-producing all five productions in the season (rather than one or two as in the past). Anthony is quite aghast at the suggestion that he might be directing all five. “I definitely don’t have the energy for that” he laughs. They are also now investing financially rather than just ‘in-kind’ in co-productions (including Donbas with Good Chance and 45North Production in association with Seventh Productions) and they are taking work beyond its London home (Boo with Theatre Royal Plymouth). Then, the venue is launching a new strand celebrating the power of the debut through, for the first time ever, reviving a debut that reshaped the theatre landscape - Michaela Coel’s Chewing Gum Dreams, which opens in September 2026 and is directed by Anthony.
One of the exciting things about the new season for Anthony is how “outward looking it is.” He wants Theatre503 to be “a place where people really take the risks that they can’t take anywhere else”. The season (which runs all the way until early 2027) features plays by writers from the UK, USA, Ukraine, and Palestine. Choosing plays from war zones really makes a statement. “It’s the duty of an artist to reflect the times,” says Anthony. “Especially in times like this when theatres can platform voices that are being marginalised or silenced, we should lean into that when we can.” Anthony has a belief in the importance of community. “The whole idea of theatre is that we all come to listen to a story in community with each other, and we agree to learn something new about the world.” If we talk about the world ‘”as it is”, then it might be possible to talk about the world “as it should be.”
Anthony is quietly spoken with a measured pace (really helpful for interviewers). He’s wearing a large silver cross which seems to be making a statement about the man himself. It’s a gift from his Godfather which he describes as a “sentimental piece of jewellery”. Anthony was raised in a Quaker school. Rejecting the hierarchical nature of Catholicism, the Quakers believe that no one person is closer to God than another. They worship in the round and in silence. “Instead of listening to someone talk about God, you use the time to reflect on the God within yourself.” (It sounds like my kind of religion.)
The first play in the season under the new creative leadership, of Emily and Anthony, is Donbas by Olga Braga which won the 2025 Theatre503 International Playwriting Award (chosen from 1,463 writers who submitted their plays). The winner is guaranteed a production at Theatre503 but Anthony was not obliged to direct it. So, what attracted him to Olga’s play? “Olga is Ukrainian but she now lives in London and what she’s written is so brave and funny and sensitive,” says Anthony.
“We read about Ukraine, and Donbas is in the news a lot; but it’s sort of in danger of becoming just a headline for people” suggests Anthony. “What Olga’s done is gone right to the heart of what it means to be alive, and what it means to be alive not only in Donbas.” Anthony suggests that it reflects “a state of the world” and that the play is really about community. “How they get up every day and how they make coffee, or tea, and the jokes that they’re making and the friendships that are forming and the bonds that are breaking and what it means to be a father and a son.” Olga has managed to do this on “a structural level” with all the “complexities and the conflicts that are happening” and also to “zoom in on relationships”.
“It’s so darkly funny, witty and beautiful and moving.” The play shows how communities survive in the most extreme times, and Anthony believes that “there are so many lessons to be drawn from that, but there’s also such beauty in the play about resilience of love and the resilience of community.” At the same time Anthony is aware of the ruptures that are happening in Donbas, a region which has a rich cultural identity. “There are so many competing perspectives on what the future should look like, and Olga has included lots of those as well as asking some of the big questions about how we see ourselves and what it means to see yourself as different from someone else and the consequences of that”.
The play begins with Donbas under occupation, before the full scale invasion. Anthony has an idea of how it should look, using domestic objects, to also build a battlefield. “All the things people are used to, that feel normal, that feel safe, but have been completely overturned.” The house is to be a metaphor for Donbas. The cast of six includes Ukrainian actors Sasha Syzonenko and Ksenia Devriendt. Anthony couldn’t commit himself beyond that as he’s coming into the rehearsal room with his ideas and then working collaboratively with the actors and creatives.
Coming to the pub theatre question, straight away he’s keen to point out that he was Associate Director at the Gate Theatre (before his time as Deputy Artistic Director at The Yard Theatre). The Gate was the first theatre at The Latchmere pub, and then Theatre503 branched off to do its own thing. “There’s something full circle about that,” says Anthony. He loves the internationalism of The Gate and this marries well with Theatre503’s outlooking gaze. He learned a lot about new writing and what it offers in terms of “new perspectives, new forms, new ways of thinking … we can also do this with existing pieces but there can be something very responsive and fresh.” He’s keen to include communities that haven’t seen themselves represented. “To me, all of those things have always been at the heart of the mission of Theatre503.”
“Theatre503 has always been telling stories that I haven’t heard before in ways that I haven’t seen before.” It concerns him that recent reports suggest that new writing is in crisis following a drop in Arts Funding. The Writers Guild of Great Britain (WGGB) warns that it poses a threat to new playwriting commissions and could lead to risk-averse programming. The survey found that 55% of writers reported that rising energy and food costs were impacting their ability to sustain a writing career. This, in turn, has led to a decline in the number of new writing projects being developed. Statistics show that there has been a drop in the number of new writing plays being mounted since the pandemic, with new plays produced in 2023 at 29.2% lower than in 2019. Anthony is keen to be part of the mission “to fix it, to make it stronger, to secure it for future generations.”
Thanks to the resilience of Theatre503, the team have found a way to navigate an unsteady funding landscape - diversifying their production funding and relieving pressure on their reliance on Arts Council project grants. “We have to be really innovative in thinking about new funding models,” says Anthony. Coming back to that question about pub theatres and how he feels about them, Anthony says “pub theatres are really democratic.”
“I started in pub theatre at The Gate, and I’ve always been really inspired by the fact that there is always a theatre in a room above, in which there’s a completely new universe each time, and many people go into the pub and don’t necessarily visit the theatre, but they sometimes do. All sorts of people that wouldn’t normally go into a theatre come into contact with the space. I think that’s beautifully democratic.”
DONBAS by Olga Braga is at Theatre503 5 – 28 February 2026 Details and box office
Further debuts premiering include plays by Vietnamese-American writer Katie Ðỗ with LOVE YOU LONG TIME (ALREADY); New York based playwright Nazareth Hassan with KAT; and Alistair Hall’s BOO!, co-produced with Theatre Royal Plymouth and premiering at Theatre503 before transferring to Plymouth. Theatre503 is proudly hosting White Kite Collective’s week-long festival showcasing new writing by Palestinian playwrights, TOMORROW WILL BE A PALESTENIAN DAY. There’s also a revival of Michaela Coel’s CHEWING GUM DREAMS, directed by Anthony Simpson-Pike. The play was originally developed by The Yard in association with Bush Theatre in 2012, before transferring to The Shed at the National Theatre in 2014.
The full line up can be viewed on Theatre503 website
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THEATRE PROFILE
THEATRE503
Above The Latchmere pub
503 Battersea Park Road
London, SW11 3BW
LASTEST NEWS / 2023
Theatre503 enters its next exciting phase of a capital campaign, working towards the opening of a brand new 503Studio in Nine Elms.
IN A NUTSHELL
Theatre503 is the national theatre for debut playwrights and the artists who bring their words to life. It plays a vital role in the theatre ecology by helping diverse new voices reach the first rung on the artistic career ladder. The 63-seat theatre based in Battersea, has nurtured modern classics such as The Mountaintop by Katori Hall and Rotterdam by Jon Brittain – both Olivier Award winners – and classics in the making like Yasmin Joseph’s J’Ouvert, winner of the 2020 James Tait Black Prize, and Ross Willis’ Wolfie, winner of the 2020 Writers Guild Award for Best New Play. Theatre503 alumni have written for Succession, Doctor Who, Killing Eve, Normal People and One Day.
LOCATION
Housed above the Latchmere pub in Battersea, South London.
By Tube:
Sloane Square then bus 319
South Kensington then bus 49 or 345
Vauxhall then bus 344
By Train:
Clapham Junction then 20 minutes walk or bus 49, 319, 344 or 345
By Bus:
44, 49, 319, 344, 345
Get off at stop The Latchmere
PRODUCTIONS
The plays are in close conversation with our times, from voices we haven’t heard before, that makes us see the world anew. They like to surprise, invigorate and entertain audiences, celebrate bold theatricality, with an emotional connection and plays that provoke the mind.
VALUE ADDED
For Audiences
503Friends - an annual subscriptions offers several
- Priority Booking
- Free Ticket Exchange (for another date in the show’s run)
- 20% Discount on Dining at The Latchmere (Mon-Fri)
- Biannual Supporters Newsletter
- Gift Membership for Friends and Family
Audience Special performances/ ACCESS
Socially distanced performances, Relaxed, Parent and Baby, Captioned and Pay What You Can, Enhanced performance and touch tour
Physical Access
A lift is being installed in the Battersea theatre in 2023.
For Theatre Makers
This new writing theatre offers many opportunities for writers including: an annual International Playwriting Award, 503Five Writers Residency, Writers courses, 1-2-1 dramaturgy, script reading.
Writers Night: A chance for writers to enjoy a discounted ticket and meet our literary department and the writer of the show. Attendees to Writers Night are invited to submit for our Rapid Write Response initiative.
The 503Studio at Nine Elms – a new 320 square metre, state-of-the art studio space in Nine Elms, Wandsworth which will open its doors by 2026. It aims to be a centre of excellence for early career playwrights, an open space for anyone in the local community who wants to tell their story and explore their creativity and a bridge to the theatre.
THE PUB
A landmark building, The Latchmere has recently undergone huge regeneration, restoring one of Battersea’s most beautiful buildings to create a spectacular public house and garden. The garden spaces include a heated courtyard (covered in the winter months), an al fresco snug and a sun terrace.
A BRIEF HISTORY
In 1982 the Gate Theatre in Notting Hill expanded to include a custom built studio theatre above the Latchmere Pub – The Latchmere Theatre, subsequently renamed the Grace Theatre. In 2002 the venue became first known as Theatre503 and took its first steps towards being a home for new writing, becoming a registered charity in 2006. That year under the leadership of Paul Robinson and Tim Roseman as joint Artistic Directors, 503 became an entry level new writing theatre. In 2012 Paul became sole Artistic Director with Jeremy Woodehouse appointed as 503’s first Executive Director. In 2016 Lisa Spirling and Andrew Shepherd became Artistic and Executive Directors, supported by Literary Manager Steve Harper. Anthony Simpson-Pike as apppointed new Artistic Director, succeeding Lisa Spirling who departs Theatre503 after eight years to join Stratford East as Artistic Director. In a new leadership model for Theatre503, Anthony will share the role of Joint CEO with Executive Director Emily Carewe.
Since 2006 many first-time writers have gone on to establish a career in the industry thanks to the support of Theatre503: Tom Morton-Smith (Oppenheimer, RSC & West End), Anna Jordan (Bruntwood Prize Winner for Yen, Royal Exchange, Royal Court and Broadway), Vinay Patel (writer of the BAFTA winning Murdered By My Father), Katori Hall (Mountaintop, 503, West End & Broadway – winner of 503’s first Olivier Award), to name a few. 2 of the last 5 winners of the Evening Standard’s Most Promising Playwright Award came from 503’s writers’ residency, the 503Five (Beth Steel and Charlene James). They have nurtured modern classics such as The Mountaintop by Katori Hall and Rotterdam by Jon Brittain – both Olivier Award winners – and classics in the making like Yasmin Joseph’s J’Ouvert, winner of the 2020 James Tait Black Prize, and Ross Willis’ Wolfie, winner of the 2020 Writers Guild Award for Best New Play. Theatre503 alumni have written for Succession, Doctor Who, Killing Eve, Normal People and One Day.
THEATRE503 ANNOUNCES NEW ARTISTIC DIRECTOR along with a new leadership model
9/1/2025
Image: Anthony Simpson-Pike, photography by Adiam Yemane
Theatre503 announces Anthony Simpson-Pike as its new Artistic Director, succeeding Lisa Spirling who departs Theatre503 after eight years to join Stratford East as Artistic Director. In a new leadership model for Theatre503, Anthony will share the role of Joint CEO with Executive Director Emily Carewe. They are joined on the Senior Management Team by Literary Manager Steve Harper, recently appointed Carne Deputy Artistic Director Rochelle Wilson, and a Producer to be recruited next month.
Anthony Simpson-Pike is an acclaimed director, dramaturg, and writer whose previous leadership roles include Deputy Artistic Director at The Yard Theatre and Associate Director at the Gate Theatre. His recent work includes directing Olivier Award-winning The P Word (Bush Theatre), co-directing the Drama Desk Award-winning Grenfell: in the words of survivors (National Theatre and St Anne’s Warehouse, NYC), directing the Irish Times Theatre Award-nominated An Octoroon (Abbey Theatre) and productions at the Royal Court Theatre, Stratford East and Young Vic. As a dramaturg, he has developed seasons of work for the Gate and The Yard and worked for companies including the RSC, Stratford East, the Royal Court, and BAC.
Anthony Simpson-Pike said: “I can’t wait to get started on working with game-changing writers that are the lifeblood of Theatre503 and I am honoured to build on Lisa’s rich legacy of supporting bold and diverse new writing. Theatre503 holds a vital and unique place in the industry, and in my heart, as the national theatre of debut plays. I have always been inspired by the breadth, ambition and innovation of the stories I’ve seen here. It is a vital space for artists to dare to write their boldest work and for audiences to see plays they couldn’t see anywhere else."
Anthony joins the company in February 2025, overseeing the final stages of the 2025 Theatre503 International Playwriting Award (to be announced in Spring), the next steps towards opening the 503Studio at Nine Elms, and programming his first season of work - to be staged from 2026 onwards.
COMMENDATION FOR SERVICES TO NEW WRITING awarded to Artistic Director Lisa Spirling and Literary Manager Steve Harper and team at THEATRE503 2023
Image: Emily Carewe and Lisa Spirling
Image: Artistic Director Lisa Spirling
THEATRE NEWS: THEATRE503 ANNOUNCES EMILY CAREWE AS ITS NEW EXECUTIVE DIRECTOR
Theatre503 is excited to announce the appointment of Emily Carewe as its new Executive Director. She will take up the position at the start of October 2023, joining Artistic Director Lisa Spirling in leading the company as it enters its next exciting phase of a capital campaign and working towards the opening of the brand new 503Studio in Nine Elms.
Emily succeeds Interim Director Juliette Oakshett and prior to that Andrew Shepherd who stepped down after 8 years in the role to take up the position of Executive Director of Selladoor Worldwide.
Archive Image below: Andrew Shepherd, former Executive Director at Theatre503
Archive Interview with Andrew Shepherd 2021
By Heather Jeffery
Andrew Shepherd is Executive Director of Theatre503 and works alongside Artistic Director Lisa Spirling. I have never seen him so animated as when asked what kind of theatre he likes. There is a momentary pause and then a whole new persona emerges. Shepherd is actor and playwright, having had work performed all over the world. He has written that funding application, and he is well-versed in what it takes to get a play onto the stage.
Part of his job at Theatre503 is to make sure everybody and everything is in the best possible place. “Our Mantra is that art leads, but art cannot work in isolation” explains Shepherd, “it needs to be created, literal, tangible and it’s my job to ensure that everything around that artistic narrative is serving the arts as best we can.” On a practical day to day basis, he looks after the more operational side, the venue, communications, fund raising, and business development. However, there is an overlap with the small team and a synergy between himself and Spirling.
He is always asking whether the production team has the best possible circumstances for making successful theatre but at the same time he is also practical, it might be the plumbing or health and safety.
So, to hear him speak about his love for theatre is a joy to hear. “I love the theatricality” he explains. “I love the joy when people throw everything at a show, I adored Wolfie (directed by Spirling).” Theatre503s current show also comes in for praise (also directed by Spirling). “Milk and Gall … it’s that stretching of the emotions that goes with it.”
He admits that he has always been obsessed with Shakespeare. He trained as an actor at LAMDA after his law degree. “I always wanted to be an actor” he admits, “it was the deal I made with my family.” He quietly mentions that he didn’t go to as many lectures as he should have because he was mainly acting and making friends. His mother’s entire family are lawyers who have their own law firm but he is not alone in his love of Shakespeare, it’s a family thing.
Shepherd is particularly fond of new writing and has a similar taste to Spirling. He elaborates: “Those stories which have an ability to stretch the emotions on stage with powerful acting and directing. That silence in the room filled with people who don’t want to blink. That ability to make someone laugh, or cry, to switch in a moment.” He also sees that good plays are like playing music, that there’s a musicality throughout the play. “When you get that special play it’s like hearing music; there is a rhythm and a cadence to it.”
When he is reading scripts he hears the actors voices and listens for that musicality. “The human voice is a musical instrument and often really fab writers write that on paper, a play like Wolfie clicks and connects with you” says Shepherd with much animation.
Theatre503 is well known as a International centre of excellence for new writing with excellent writing courses and global links. There are several different routes to getting a play produced at Theatre503 via: unsolicited scripts which are read all the year round, Theatre503 International Playwriting Award and they also have the 503Five writers residency.
However, Theatre503 was concerned about the local community. “If it’s not serving the people who live on our doorstep then we’re failing them” says Shepherd. “We felt that we weren’t quite there; the Young Vic is the closest, but what does a world class neighbourhood centre look like?” He and the team pooled their collective experience to win a funding bid to open 503Studio – a new 320 square metre, state-of-the art studio space in Nine Elms, Wandsworth which will open its doors by 2023. It aims to be a centre of excellence for early career playwrights, an open space for anyone in the local community who wants to tell their story and explore their creativity.
It aims to fill the gap in the ecology. “A space for writers who don’t know they’re writers yet” says Shepherd. “We want to harness that in the local area; people just being creative by telling their stories but the most important part of that is that the community is extending beyond Wandsworth.”
There are still people in the Wandsworth area who don’t know Theatre503 exists and some may feel it is not for them. “There are 350,000 people in Wandsworth” says Shepherd, “If we reach just ten percent of them that’s 35,000, of really exciting untapped resources for creativity in our local community.”
Theatre503 are keen to broaden access to theatre. “It’s about who is telling the stories” he says. “Whether it’s about Notting Hill Carnival, or third generation immigrants or a story about a Syrian refugee family, it’s speaking about a moment or a story you haven’t seen before.”
The same goes for their tailored performances which include parent & baby, relaxed performances and captioned performances. Which brings us neatly round to the current production at Theatre503, Milk and Gall. It’s about a woman giving birth on the same night as the 2016 elections in the United States. Spirling (director) took her three month old baby into the rehearsals with her which informed the play. With a parent and baby performance of the show, young families don’t have to miss out. Plans are already being drawn up for a bigger conversation embedded in the creativity at Theatre503 for captioned performances.
Passionate about access, Theatre503 is also looking at physical access to the theatre with the installation of a lift by the end of 2023. The future of Theatre503 is being created right now.
