Taking theatre out of the theatre

Common Wealth Theatre
United Kingdom (Bradford)

The stage is set… but not as you know it. Step into a boxing gym, explore the rooms of a terraced house, or wander across an open factory floor. Welcome to Common Wealth Theatre, where stories are told by – and for – the people who lived them.

When Rhiannon White started university she was introduced to a whole world of art and theatre that she’d never experienced. “Having grown up in a council estate in South Wales, I first became aware of how little opportunity I’d had when I got to university. The opportunity I saw when I got there, the power of using culture and creativity, was immense. I felt like everyone should have the right to share and experience it.”

With colleague and fellow visionary dramatist Evie Manning, she set up Common Wealth: a theatre production company that took theatre out of the theatre by performing in Bristol’s abandoned buildings. “We didn’t care about money, or cracking the art scene, we just did it because we wanted to make art. We were really interested in what it meant to be ‘common’, what it meant to be poor, and how we found the wealth and richness that already exists there.”

Since 2011, Common Wealth have created twelve shows that have taken them to boxing rings, Council Chambers and abandoned factories across the UK, Finland and Australia. Over 100,000 people have been invited inside the stories of domestic abuse survivors, female teenage Muslim boxers, and steelworkers threatened with mass unemployment.

Most importantly, Common Wealth’s work puts the people who have lived the story at the heart of the creative process. “It always starts with interviewing people, with a conversation that we’ve had with someone. And it’s always really rooted in the place we’re in”, Rhiannon explains. “It’s about representation. The narrative of people and place is really important to me. Where I grew up is a council estate called St Mellons, where our narrative was determined by a politician called John Redwood, who used to be Secretary of State for Wales, and I personally felt the power of someone else’s narrative being put onto a place and how that lingers for a long time. The work we do has to come from the owners of the story, otherwise we’re just making it up and sensationalising ideas and places and people.”

“We keep our rehearsal room open and always invite people in – because everyone is a collaborator”, Evie adds. “It’s really important that people we’ve interviewed throughout the process know they can inform the play, they can change and edit the script. Quite often we’ve bumped into someone on the street during lunch break, and then invited them to watch rehearsals and chip in.”

And this is isn’t art for art’s sake: every Common Wealth show has a big, fearless, mindset-shifting point to make – and a change to instigate. “One of the questions we ask ourselves when we first start out with a new piece of work is who’s it for, who’s coming? For Our Glass House, we invited people who were teachers, policeman, solicitors, GPs – anyone who would come in contact with domestic violence. The Chief of Police in Scotland came along, and released a statement saying he would look at domestic violence in a different way. That was a massive achievement, it felt like there was real movement around those conversations.”

No wonder the audience aren’t given chairs. “Normally you go to the theatre and sit down and are fed the show; but for us the audience are up, they’re empowered, they’re making decisions. We want to drive political action with our work, and I don’t think you can do that sitting down. You have to be ready.”

Next for Common Wealth is to launch creative labs that bring together grime artists, illustrators, animators, actors with people who have experienced life and developed their own skills, like steelworkers and female boxers. “We’re interested in what happens with the future of theatre and the future of art, and how we can cross-fertilise ideas and minds and ambition and form and really mess it up.”

Learn more about how Rhiannon and Evie are taking activism to the stage in their FutureLeague interview, and get behind the scenes with a whole cast of collaborative characters who help make it happen.

AtlasAction: Get involved in a Common Wealth performance as an artist, actor, collaborator or spectator – and stay up to date with new shows and community events on Twitter and Facebook.

Submitted by

Becca Warner (21 August 2018)

Bio

Nature-geek, urban forager and all-round wordy sort. Freelance strategist and copywriter for mission-driven organisations. Often found reading while walking.

Project leader

Rhiannon White and Evie Manning, Co-founders, Common Wealth

Partners

This project has been selected as part of CultureFutures, a new storytelling project that maps creative and cultural projects with a social mission – and the artists, collectives and entrepreneurs behind them.

Atlas of the Future is excited to join forces with Goldsmiths Institute of Creative and Cultural Entrepreneurship and the British Council Creative Economy.

Nayab Din, Seherish Mahmood, Freyaa Ali, Saira Tabasum, Mariam Rashid in No Guts, No Heart, No Glory

‘Radical Acts’ with radical actors

Rhiannon White and Evie Manning | Photo: Dimitris Legakis

Cain Connelly in ‘The Deal Versus The People’ | Photo: Christopher Nunn

Our Glass House

Creative Commons License

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