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- 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
Interview with Artistic Director Phil Bartlett appointed 2021
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
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
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