WHITE BEAR THEATRE 

Open since 1989

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Interview with Artistic Director Michael Kingsbury below

What's On at White Bear Theatre 

PROFILE

THE WHITE BEAR THEATRE 
138 Kennington Park Road 
London 
SE11 4DJ 

IN A NUTSHELL 
White Bear Theatre has a long-standing tradition of producing excellent theatre. Numerous plays have won off West End awards. Plays have transferred to West End theatres, toured nationally and internationally.   
Recently redeveloped the brand-new Theatre, boasts a technical upgrade, is fully air-conditioned, has an exclusive foyer for theatre-goers and raked seats with plenty of leg room.   
  
LOCATION 
A stone’s throw from Kennington tube station, which is just one stop from Waterloo on the Northern line. On top of this, there are parking spaces available outside the venue. 
Tube: 2 minutes’ walk from Kennington Underground (Northern Line). Kennington is just 4 stops from Leicester Square and one stop from Waterloo. Turn left out of the station along the main road and the White Bear is 220 yards on the right. 
Parking: Spaces available outside the venue 
Bus: 3, 59, 133, 155, 159, 414 buses stop nearby. 
National Rail: Elephant and Castle Train Station, then bus. 
  
PRODUCTIONS 
Focusing on new writing and lost classics, main shows run Tuesday to Saturday. It showcases talent, extends possibilities and offers a space where risks can be taken. 
Sunday/Monday night slots are dedicated to theatre makers at an early stage in their careers and to more established playwrights’ work which is in development.   
  
  
THE PUB 
This beautifully redeveloped pub with its stunning bar as a focal point, now serves pre and post-show food. It can be enjoyed outside in the newly re-opened garden or enjoyed sitting next to a roaring fire. The White Bear has been on this site since c.1780. Today it has cosy armchairs, restaurant and bar areas serving craft beer, ales, lagers and British fare made with seasonal, fresh and locally sourced produce.   
  
VALUE ADDED 
THE LOST CLASSIC PROGRAMME includes workshops and talks, as well as archive and documentation of each production, connecting with actors, audience and academics. 
  
LITERARY DEPARTMENT 
The White Bear Theatre has a literary department that accepts unsolicited scripts. They provide free feedback for all plays and there is always the possibility of being invited to a meeting to discuss further development of the play.   
  
DID YOU KNOW … 
  
The White Bear was founded by Michael Kingsbury in 1988 
  
People who have cut their teeth at The White Bear include: Joe Penhall, Emily Watson, Tamzin Outhwaite, Kwame Kwei Armah, Vicky Featherstone, Torben Betts, and Lucinda Coxon.   
  
The White Bear has also developed and hosted work by a new generation of theatre makers including Verity Bargate winner Vicky Jones, Blanche McIntyre, The Ugly Sisters, and Simon Evans.   
  
Former White Bear Associates include Adam Spreadbury-Maher and Box of Tricks Theatre. 
  
The White Bear has received numerous awards including Off West End Awards in 2011 and 2012, and the Mark Marvin/Peter Brook Award for 2012/13. Other awards include Time Out Best Fringe Venue, Peter Brook Empty Space Award for Best Up and Coming Venue, Carling London Fringe Awards for Best Actor and Best Production, and the Fringe Report Award for Outstanding Achievement. 
  
Plays that have transferred include The Confessions of Gordon Brown and Madness in Valencia, Revisited which played in the West End for 18 months, completed 3 first-class tours and was chosen for the Royal Variety Performance. The London première of John Osborne’s second play Personal Enemy transferred to the prestigious Brits Off-Broadway Festival in New York. 
  

INTERVIEW WITH MICHAEL KINGSBURY ON HOW THEATRE WORKS TODAY: FROM GETTING THAT FIRST OPPORTUNITY TO GETTING A NUMBER ONE TOUR


by Heather Jeffery

Published June 2023



Michael Kingsbury is the living embodiment of the concept ‘man of theatre’ - he is actor, director, producer, and educator. He is founder and Artistic director of White Bear theatre in Kennington and was awarded 'Outstanding Contribution to Pub theatre' in 2022. In our interview, Michael talks about how theatre works today, from getting that first opportunity to getting a number one tour, with reference to four shows which started at White Bear Theatre. 

 

GETTING A NUMBER ONE TOUR 

 

Four shows which have recently gone on to larger theatres are DOM, MAGGIE AND TED, JUMPING THE SHARK and I FOUND MY HORN (at Riverside Studios 30 May - 11 June).  Michael points out that “it’s extremely rare for new writing to go on tour or get to the West End.” He is rightly proud that three of the shows mentioned above are bang up to date, with I Found My Horn being a justly deserved revival. 

 



Jonathan Guy Lewis in I Found My Horn by Jonathan Guy Lewis and Jasper Rees at White Bear Theatre, directed by Harry Burton / set design by Alex Marker (Photography: Alex Marker)

I Found My Horn was first performed in 2008 at the Aldeburgh Fringe Festival and then toured in the UK and USA. It came to the attention of Kingsbury and West End director Harry Burton (who brought Pinter’s The Dwarfs to White Bear in 2022). “We were talking about opening up a new version” explains Kingsbury “we put in some dates and had a set built for it by Alex Marker, who was resident designer at the Finborough for years.” It’s a joyous, feel-good show which places the transforming power of music centre-stage. Its recent sell-out run at the White Bear was picked up by Riverside Studios (the show is currently playing in Canada before opening in Hammersmith 30 May). “It was gaining momentum” smiles Kingsbury, but he’s quick to point out that “even if shows don’t go on to other venues, they’re still worth doing in their own right”. He is always keen to develop long-term relationships with creatives who work at his 50-seat studio. Kingsbury believes in “allowing the companies to use the space, working with them to help realise their project in the most exciting and effective way”. 


Dom has just finished at 670 seat Theatre Royal (March 2023)” says Kingsbury, “it went from White bear to The Other Palace studio, and was completely sold out, so we had to add extra dates.” Taking a play about Dominic Cummings (played by Chris Porter) to the heart of Westminster, was seemingly a master stroke. “Producers are hungry for the right project,” says Kingsbury “and places like white bear can generate these things.”  It was picked up by West end producer Bill Kenwright and given a makeover for the larger venue using projections. 



Chris Porter as Dominic Cummings in Dom, the play at the Other Palace 

Michael McManus’ Maggie and Ted, which was also co-produced and directed by Kingsbury and transferred to the Garrick (2021). I ask him how the show came in to being? “It had three development readings at White Bear” explains Kingsbury “it’s a wonderfully clever, witty and often hilarious script but we needed to find a way of staging it that would release its full potential. Having directed successful radio theatre formats including the West End and touring hit Round The Horne…Revisited and the Offie nominated Men From The Ministry, I had the idea of setting it as a radio theatre show- with on air and recording signs -which really suited the material.  I already had a studio style set in storage which helped!’’

 

Jumping the Shark, by David Cantor in collaboration with Kingsbury, started at White Bear Theatre, toured and then returned to another pub theatre, Upstairs at the Gatehouse in March 2023. “It’s a full set, we wouldn’t get it upstairs at the White Bear”. A larger pub theatre venue was needed after the show toured to 1100 seat Orchard Theatre (in the Dartford leg of the tour) and 1400 seat Queens Theatre (in Portsmouth). “The tour went down very well,” adds Michael. “It started as a conversation at a theatre bar, with writer David Cantor which gave us the idea of working on a sitcom masterclass”. The story is about a group of people who want to realise their dreams through comedy.


It helps that Kingsbury was bringing a wealth of experience to the table, his writing partner David Cantor worked with the late great John Sullivan on The Green Green Grass and Kinsbury worked with Brian Cooke ( writer of Man About the House/George and Mildred) and on a stage version of the hit radio show Round the Horne at White Bear (2003) which went on to have three number one tours, and a stint in the West End. “It was sublime material from Barry Took and Brian Cooke that teaches you a lot about structure, builds, and undercuts” says Kingsbury. It has all fed into co-writing Jumping the shark with such comedy techniques as “misleads, straight reverses, telegraphing, the rule of three, the law of C, as well as jumping the shark.”  Kingsbury explains: “The law of C” tells us that some words are funnier than others …Coffee is funnier than tea and Carlisle is funnier than Burnley.” 



Jumping the Shark at Upstairs at the Gatehouse March 2023


MICHAEL’S OWN ROUTE INTO THEATRE


Kingsbury’s own route into theatre started when he was about 14 when he was getting really interested in it. “I’d go to Saturday afternoon classes at Italia Conti to do acting and singing” says Kingsbury, “and used to keep it secret from my mates.” He was from a south London council estate and a comprehensive. “Lots of actors are, you’d be surprised” he says, and then asks, “don’t know how I come across now?” After all that training his articulation and pronunciation could give the impression of a far more privileged background. He continues his story: “I used to go around the back, so as not to be seen by my friends but I got caught … I pretended my uncle was a caretaker at the school.” Later he went to Central School of Speech and Drama where he studied acting for 3 years. Getting into Central is very tough, but it had its rewards as he did regional plays from Leicester Haymarket, to Theatre Clwyd and Manchester Royal Exchange. He also picked telly parts. Just three years after leaving Central he came across the empty space at White Bear pub and created The White Bear Theatre. “It was exciting but a curious and unusual journey, but magical in so many ways and I’m very thankful for it” says Kingsbury. “The most rewarding part of running the theatre is being able to develop incoming shows, and allow practitioners to realise their projects in the most effective way." (His team at the White Bear are very hands on and constantly engage with the companies they host.)



The White Bear Theatre gave him the opportunity to try directing and writing. “It was like having a train set as a kid, experimenting with it, and I’ve been very lucky” says Kingsbury. He’s very proud of his recent successes particularly Jumping The Shark and Dom the Play, both directed by himself. “It’s because you can try them out in a smaller theatre” he explains. “The essence and the joy of what we do is often in the primary development ground; you can’t go straight into the Royal Court or The Royal Exchange.” But people who start at the White Bear often go on to much bigger things, such as director Simon Evans. He’s now working extensively in the west end has a hit television series Staged with Judie Dench, Michael Sheen and David Tenant. The theatre has also provided a development platform for a new generation of theatre makers including Ruby Thomas, Poleroid Theatre, The Ugly Sisters and Martha Watson Allpress.

 

There are those defining moments in a career and for Kingsbury there have been many, and he mentions just a few of these. A whole season dedicated to Sam Shepherd’s plays which he co-directed with Tom Morris. “Sam came over at the end and gave a presentation of his plays and did a question and answer” recalls Kingsbury, “and then all the directors went for a curry with Sam afterwards.”  Other highlights for Kingsbury included having his first play on Time Out Critic’s Choice, directing Contact.com which played at the main house at The Park Theatre along with All Manner of Means and Seduced which played at the Finborough and three plays at King’s Head Theatre.

 

On the other hand, there are also those moments that define some of the tribulations of a career in theatre. White Bear is now a purpose- built theatre above a gastro pub, but in the early days it was a room downstairs in a traditional pub. “It used to be a bit of a sports pub before, and I got rather nervous about someone scoring a goal” admits Kingsbury. “Once, someone came in during a press night, stood in the middle of the stage and wouldn’t leave; I had to push him out the door, managed it somehow … they didn’t mention it in the press though.” It’s one of Kingsbury’s favourite stories, and he still seems terrified by the memory.  “Now, it wouldn’t happen because the theatre’s upstairs” he adds, nervously. The move upstairs took almost a year, but Kingsbury used the time to plan and re-equip. "It took considerable thought to find a way of making it work upstairs, but bringing in an architect who also writes plays, really helped and we came up with the current layout."

WHAT MAKES A SUCCESSFUL PLAY / FUNDING / FINAL WORDS

Back to the serious business of making theatre and the question about what makes a successful play. “I’m like a lot of us in theatre, left of centre” says Kingsbury, “I love political theatre but it has to combine the personal and political.” Personally, he doesn’t like agitprop, he likes a play to be embedded in metaphor and character. Harold Pinter was an influence on Kingsbury’s writing with his “semi absurdist plays, a master of what’s hidden.” Kingsbury was “lucky” to be in “three or four Pinter plays” and to direct Pinter’s The Caretaker on a British Council tour of Vienna, plays which taught him about “subtext and rhythm.”

 

What he’d really like to see is a structure where venues like White Bear, get core support from the Arts Council. “Even 50,000 a year so that we could award grants to companies which they have to match. This could have a transformative effect as the venues are well placed to assess applications and can meet up and get to know the companies who apply on a more personnel level.

 

The White Bear offers free rehearsals and box office splits to help keep costs for down. The White Bear has very strong support from its local community and Kingsbury is very much part of that. “I’m from Kennington and we’ve got a very strong local audience which helped us after lockdown, people kept coming in, residents association, friends of the local library and the local council."

 

For Kingsbury theatre is a calling, he has a sense of being very fortunate to be part of this world. “For me it’s about enjoyment, of enabling individuals and companies to try out new work” he explains. At the same time, he continues with his own work: writing, putting plays on and directing. “So many of the projects outlined here have started at the White Bear” he says. He reinforces the thought that “the pub theatre sector is an area of experimentation and development”.

 

“It can’t necessarily make huge political difference, but it is a huge part of the arts and entertainment sector,” he says.  “People empathise with what they see, they become more sensitive towards it, learn about new worlds. Create a new work that’s not just a cold political idea, it has the soul of a person or a household, it’s connecting with something bigger than yourself, that’s the attraction and the magic.”

“I suppose I am driven by what I do, but also driven by these extra projects, doing fringe and then much larger scenarios,” he pauses. “I don’t see it as disconnected, what’s launched me into those bigger worlds is a little 50-seater in a pub.” He knows that many companies and individuals go on to places from the pub theatre circuit but not all of those people give credit to those earlier opportunities. “Some mates at other venues say the same thing,” confirms Kingsbury, “it’s as if they’ve just emerged out of the blue”.

 

Best of all, Kingsbury likes to see new plays. “I hope to see things that are stimulating and passionate” he affirms “I’m also looking at the mechanics of how the play is produced and written, even if it doesn’t work, you’re still learning by observing.” He also loves reading plays (he reads a lot) and working on his own writing: “Cooking up these crazy projects”. To garner publicity for the Dartford leg of the tour (at Orchard Theatre) for JUMPING THE SHARK, David Cantor and Kingsbury arranged a sitcom competition for 5 minutes scenes which they judged in conjunction with a local newspaper. “They’re pretty good, got it down to the last three, we had other people helping with the reading of course” he mentions. 

 

When asked what really makes him happy, he takes a moment to consider. “It’s joyful when companies get nominations, or good reviews” he smiles knowingly, “or find out that they’re taking the play somewhere else, and you see people’s confidence bloom, it makes a big difference.”

 

Final question. Is it all about love? “I think it is about love … of what you’re doing and passion and just the excitement of being in the room with like-minded people, planning, cooking up projects, it’s incredibly rewarding.

I FOUND MY HORN transfers to Riverside Studios 30 MAY - 11 JUNE 2023

Box Office

 

Reviews (for run at White Bear Theatre January/February 2023):

“Funny, serious, moving. A gem” ★★★★ Sunday Times

 

“This solo stage show is a real winner... a triumph – warm, wonderfully funny and touching... Jonathan Guy Lewis is utterly engaging” ★★★★ The Stage

 


ARCHIVE INTERVIEWS:



Celebrating 30 years of service



INTERVIEW with Artistic Director Michael Kingsbury 

on current developments and the pub theatre scene in the late 80s 



Archive photo: Michael kingsbury
Published August 2019

This month White Bear have a new writing festival in celebration of 30 years of service. Although not exclusively a new writing theatre it has been key to developing the careers of so many people. As a young man setting up the theatre in 1989, Michael Kingsbury might not have envisaged that in creating a theatre here he would be helping quite so many people. As Michael points out “it’s a place where risks can be taken, people can cut their teeth and learn”. Many well-known people had their first projects here, Joe Penhall, Vicky Featherstone, Johnny Harris and numerous others.

The theatre is also known for rediscovering lost classics and for giving opportunities to more experienced theatre practitioners. Kingsbury himself started as an actor but moved into writing and directing. “I tried out my writing here” explains Kingsbury. “I didn’t write anything until I was 33 but I’ve written a lot since then for the Park Theatre, Finborough Theatre. It was personally crucial to my development as a writer and director.” He’s still active in all these fields and is keen to encourage others of any age to experiment.  

“People can also be further down the line with their careers” says Kingsbury. “Our last play, Reformation, was written by James Charlton and he’s been writing since late 1980s so its people putting things on, developing new work at various stages of their career”. Nevertheless, it is predominantly younger practitioners with a healthy amount of other age groups and various ethnicities as well.  
 
It’s easy to imagine Kingsbury on stage, he has immense presence. Although, curiously quietly spoken, he has a clear diction and there’s a power beneath it. He never seems rushed; there’s a feeling of space and time.
 
He has seen a lot of changes in the pub theatre scene. Whilst the current White Bear is a purpose build theatre above the pub, it started as an empty space. He might be well-pleased about their brand-new LED lights but he’s just as proud of the theatre’s origins. “Any room with seating and lighting and people acting … it becomes a theatre” says Kingsbury, “it was Peter Brook who said 'give me any empty space and I will call it theatre'”. 

Kingsbury set up White Bear theatre in a back room of the pub, with the support of his father, who was keen on theatre. “At the very beginning, as an actor, it was good to have someone else around - now it’s my full-time job” explains Kingsbury. “People didn’t think it would be too difficult in south London because most theatre was in north London. Stockwell, Brixton and Kennington were looked on very differently then, so there were very few places around.” The pub also had a different crowd then, the kind who were suspicious of theatre, “but”, says Kingsbury, “they had a sneaky regard for it, but some wondered why there wasn’t a couple of pool tables out there, that sort of thing”.  

“It was great to be launching something in the area” Kingsbury says with a twitch on the corner of his mouth (a rare flicker of a smile). There were very few pub theatres around in the late 80s. Kingsbury mentions Old Red Lion Theatre, Finborough and two more, long forgotten venues, The Man in the Moon on King’s Road (now a pizzeria) and the Duke of Cambridge in Kentish Town (now converted into flats).

Kingsbury looks a little wistful when he explains that back then “it was a freer atmosphere, more relaxed” but he’s keen to point out that “production values, ticketing systems and standards in general have gone up - in a very good way”.

The White Bear pub went through various incarnation. “Sort of punky scene for a while, then a sports bar” says Kingsbury. “I’ve seen a lot of cultural shifts down there and now its a very smart atmospheric bar and restaurant”. He is actually beaming now.

It’s a far cry from the times when the pub dog (now long gone) used to see a fox or cat and jump onto the roof. “Theatre goers would hear the scuffle of dog on shaky tiles and an excited “ruff, ruff” just at a key moment of the play”, (Kingsbury’s imitation is of a fairly large hound).  

“The dog wasn’t vicious, it was friendly” adds Kingsbury but it puts him in mind of a character in the bar who had a “semi-operatic voice” (meaning rather loud). Kingsbury recounts the story. “There used to be a back door - you could walk on stage during performances. This fellow came in, stood there and I had to get up and slightly struggle with him. Managed to push him out of the door. Thought he was going to thump me, but he walked on and out to the bar.” Even today, the rather quiet but tall, grandly imposing Kingsbury seems to feel himself lucky. “Tough character” he adds with feeling.  

On the upside it was a very productive period, particularly in giving local people opportunities. Local lad Johnny Harris had his first four or five plays at White Bear and got an agent. “He was from the local estate” says Kingsbury. “He’s now doing so well … very proud of him”. Harris has written and stars in Jawbone with co-stars Ray Winston and Ian McShane. It was nominated for a BAFTA award. “It’s a wonderful story” says Kingsbury with bursting pride. “He’s a gutsy passionate talent. He has great force and contained energy. I directed him in Pinter’s The Dumb Waiter, and Pinter’s Victoria station. Really good experiences. We both grew as practitioners. He was About 27 at that point in time and his talent was easy to spot. Director Blanche McIntyre also had her first couple of projects at the White Bear and then went on to Finborough, then national tour and then the Globe with more developed production values.”

Kingsbury worked at Finborough himself 12 years ago, directing his play Seduced. White Bear theatre is his full-time job but he occasionally “goes off to write things and try to get into bigger arenas”. He’s directed in regional rep and west end tours. “It’s healthy”, he says. “It Keeps you in touch with some of the people who can bring work back here and re-invigorate the White Bear. We can put people from here in touch with bigger contacts, theatres, producers. It’s an outlet into bigger channels. The most vital and exciting part is just enabling people to develop and try things out and grow from a primary thing through to a fully realised project. Collaboration is a key.”  

Kingsbury particularly enjoys the pre-production meetings going through each aspect of casting, marketing, the creative team, making suggestions about how it can evolve as project in order to realise it. “That’s rewarding” says Kingsbury. “Doing some mentorship. Essentially, the process is technically the same here as a number one tour”.  

“It’s not just a hire and in you come and get on with it” says Michael. “We’re always asking questions and offering ways of upping the stakes. It’s about getting the best possible production values and putting them in touch with lighting designers, graphic designers, rehearsal spaces, printers and all the major fronts.”  

Even one week shows get the same treatment but of course with tight budgets in mind he’ll be putting them in touch with a similar career level. “They might not know a designer who has just come out of Wimbledon looking for their first project to build a portfolio” says Kingsbury. Shorter runs are becoming more common because they don’t require so much funding or backing. When they’re just doing it for individual growth (or company growth) it’s an opportunity to invite industry people. “Shows we put on get a healthy return on their invites; other theatres, agents, producers” says Kingsbury. 

Most recently Kingsbury has worked with Cantor on a script which had a week’s run at White Bear. Television and film producers came to see it and one of them is keen to try and set it up for a number one tour (on a bigger circuit).

This is one route which work can take but Kingsbury is equally as keen on White Bear's Festival in August which features 12 new plays in a three- week period, 10 of which have female authors. The emphasis is on up and coming female writers.  

Kingsbury feels thankful for the way his career has panned out. “I feel thankful that my mum and dad walked in here for a drink one night. That’s when I found out about the space, it’s a chance thing, my career going in a particular way. If I hadn’t set this up, I’d still have been an actor, yes, but it gave me the opportunity to write and direct. Having that structure in front of you and having the opportunity to use it … without them I wouldn’t have had the chance to try them out”.

Michael Kingsbury was chatting with Heather Jeffery, Editor of London Pub Theatres (@August 2019 London Pub Theatres Magazine Ltd. All Rights Reserved)

ARCHIVE INTERVIEW WITH ARTISTIC DIRECTOR MICHAEL KINGSBURY (DECEMBER 2016)         

  
Kingsbury is tall, and has presence. There is something very impressive about him and as our discussion continues it becomes clear that he is what theatre is all about.   

The White Bear Theatre, has recently been redeveloped:   
A brand new purpose-built theatre.   
  
The theatre was co-founded with his father in 1988, when Kingsbury was still working as an actor. “During the first few years my father was around. Sometimes we had outside projects, to re-invigorate. As a director, we had tours - West Yorkshire playhouse, Salisbury playhouse, main shows at Arcola, the Park, Southwark. We set up one of the longest established theatres … Kings Head and Old Red Lion are older”.  
  
At the time the theatre was on the ground floor and the rooms upstairs were left empty. Young’s decision to redevelop the pub gives them a huge restaurant area downstairs and a brand-new purpose built theatre upstairs. “The Brewery respects the history of the theatre – a cultural asset, a tradition they wanted to continue. We have a presence in the community, a following – brings a lot of people in to drink, pre-show and post show food.” Kingsbury smiles with some relish as he continues to explain that “we have something extra in pub food, with pubs closing down all over England these extras make the difference.” And the theatre? After much discussion about the best available use of space with the brewery and an independent architect they now have 55 seats with plenty of leg room. It is sound proofed, air conditioned, has state of the art lighting and sound systems, a dedicated foyer and … well … you’ll have to come and see for yourself.   
  
Kingsbury has seen a lot of changes. “Pubs were different, rough and ready working class pubs, not many woman … sporty element only started 10 years ago. Now they’re slick … gastro now. In area terms, of where people live, driven further afield, driven out. London’s ludicrously expensive.” You can still see some of the history of the pub in Charter posters about the first meetings of working people mid- 1840 asking for and demanding a vote for shorter working days.   
  
Now, with this new lease of life, it is an opportunity for Kingsbury to re-think and re-brand. “it’s intoxicating to do that, to look at things with new eyes. We have a strong programme; keeping the programme as hot as we can. What is retained is creating a space where risks can be taken. People can develop as writers, actors, technicians, designers. A blank canvas that can grow in atmosphere that’s helpful and conducive to unlocking theatre.” Kingsbury and his team can advise on all aspects of production: Overlooking PR, rehearsals, suggesting key people, trying to assist and develop.   
  
Kingsbury is most interested in the centrality of the writer; in nurturing a group of writers, and keeping links with them. He is also mindful of the practicalities. “We want to collaborate with key people who help us apply for funding, it’s a partnership, with good new work, we’re producing the next generation of theatre makers”.   
  
Kingsbury is particularly looking towards working with people who have experience in the industry. “Most that approach us are new up and coming companies. There’s too much emphasis on young people. We’re interested in people in their 50s, 60s, 70s people finding creativity later in life - writers becoming actors, actors becoming directors. It happens organically because they’re already in the business. We’re up for lost classics, occasionally. Got some Orson Well’s play, Bright Lucifer written when he was 19 and Brice Stafford who’s directing …” Kingsbury has a habit of half formed sentences as though he’s been in the business so long, things can be taken as read. 
  
Kingsbury puts much emphasis on character driven plays which have got to entertain. He presents an image of a vital and ever morphing theatre as discussions and talks happen off stage and post show with a body of people who work closely together. He rarely takes immersive or verbatim. Sometimes he has had devised work for a week’s development but what he’s really looking for are plays which show character development. 
“All the richness of human experience is worthy of production. Obviously, looking for accomplishment, a shape to a play, big … good parts for actors”. He explains that even ‘short’ parts can be substantial. “Found an exciting author in Los Angeles working on a television project. We speak every other day on the phone. He’s character driven and detailed, won Alfred Fagon Award, commissions with Royal Court, quality work. It’s good to be working with him.”   
  
As well as forging a relationship with a group of writers who are writing for the venue he has two new associate directors. They plan to have themed seasons. Whilst this might be contemporary themes it might include their Lost Classics Project. “It’s important because its plays not written by Shakespeare that haven’t seen light for 300 or 400 years. Could go RSC, globe, or go crazy and put them on here. ‘Appius and Virginia’ by Webster and ‘The Second Maidens’ Tragedy by Middleton. Many things still fresh and contemporary, the philosophy and the outlook now. They are part of our heritage and culture and its exhilarating when they work – good ideas on the table.” 
  
Kingsbury is very quietly spoken but there’s a power behind it. He trained as an actor at Central School of Speech and Drama, went into regional theatre and television with extensive credits.   
“ … started to produce work in Austria, formed a company with the rather grand name of ‘London City Theatre”. He laughs at his audacious younger self. “Got funding from British Council and American Express for about 8 years. Concentrated on quality post war British drama, Howard Brenton, Jack Shepherd, Denis Potter and then started to produce, early directorial things, set up White Bear, still acting, acting in shows here”. He acted in ‘Picture of Dorian Gray’ last year.   
  
Finally, what are the issues closest to Kingsbury’s heart? 
“I’m Interested in politics, increasingly the unequal wage turf going down, security diminishing, human stories, people wanting to connect with other human beings, resonances and political momentum but has got to be embedded in character. Even plays which aren’t political, in some way generally are. Contradictory full of holes, very few plays aren’t in some way political. There’s a Joy in making work and doing it well.”   
  
With an absence of nearly a year, White Bear Theatre is back with a brand-new programme and seats to fill. That must be a terrifying prospect, but there’s something that Kingsbury keeps saying, like a mantra, he believes you’ve ‘got to live dangerously’. 
“You’ve got to take risks otherwise there’s no point in doing it. That’s the purpose of studio theatres to be dangerous and take risks and to grow from that.” 
  
Michael Kingsbury was chatting with Heather Jeffery, Editor of London Pub Theatres 
  
@December 2016 
  
All rights reserved: 
London Pub Theatres Magazine Limited 
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