ARDENT THEATRE COMPANY
10-Year Manifesto for Change:
2025-35
Anne O'Riordan (STRIKE!) - Photo Mark Douet
INTRODUCTION
Theatre aspires to reflect society — but Britain's stages are increasingly reserved for the privileged few. Class-based exclusion affects all areas of theatre - acting, playwriting and audience access. A 2024 Creative Access report revealed a stark reality: the proportion of working-class actors, musicians and writers has halved since the 1970s [1]. Despite years of supposed progress, research in 2020 found only 16% of people in creative jobs now come from working-class backgrounds, compared to a third across the wider workforce [2]. The ladder into the industry is broken — and many can’t even get a foothold.
For working-class actors, financial constraints, regional isolation and the overwhelming dominance of London-based opportunities create near-insurmountable barriers. Those who don’t attend elite drama schools or who lack personal connections often face an impossible choice: abandon their dreams or accept exploitative, unpaid work they can't afford. Regional graduates must contend with relocation costs, last-minute audition calls that rule out affordable travel and an overwhelming sense of being "outside the loop."
Working-class playwrights face an equally punishing system. Development pathways — often unpaid and lengthy — demand time and resources that many simply cannot spare. Without clear strategies or financial support, the sector loses vital new voices before they can even be heard.
Audiences from working-class backgrounds are also being pushed out. High ticket prices, inaccessible programming, cultural intimidation and post-pandemic shifts towards at-home entertainment mean live theatre feels increasingly remote. For many, it's not just a night out — it's an unaffordable risk.
Previous government efforts to “level up” the creative arts industry were restricted by narrow criteria — age limits, educational background and London-centric programming — and they continue to exclude the very people they claim to support. Unpaid internships, low-paid creative roles and persistent financial barriers continue to shut out early-career actors from low-income backgrounds.
Theatre, if it is to claim relevance, must confront these systemic inequalities head-on. Without urgent action, working-class actors, writers and audiences will continue to disappear from the industry. Plays will go unwritten, performances unseen and theatres themselves will grow increasingly disconnected from the diverse society they are meant to serve. The cost of inaction is a hollowed-out, elitist sector — and a loss of the powerful, authentic stories only working-class creatives can tell.
[1] The class ceiling in the creative industries Research by Creative Access & FleishmanHillard UK, 2024
[2] Heather Carey, Rebecca Florisson, Dave O Brien and Neil Lee (August 2020) Getting in and getting on: Class, participation and job quality in the UK Creative Industries, Creative Industries Policy and Evidence Centre (PEC) led by NESTA.
VISION, MISSION & GOALS
CORE PURPOSE
To end class inequality in theatre.
CORE VALUES
No one feels like an outsider
Everyone has the right to a voice
Artists are paid fairly
Theatre is for everyone
KEY GOAL
At least 50% of creatives working in theatre and 50% of audiences attending theatre identify as, or were raised, working class.
KEY AIMS
Create opportunities for working class creatives to connect with potential employers.
Bridge the gap between university actor training and drama school.
Increase paid opportunities for working-class actors.
Influence the sector to increase employability for working-class creatives.
Remove barriers that stop working-class audiences from going to the theatre.
OUR WORK
Our work consists of the following five strands:
PRODUCTIONS
Plays by writers who identify as, or were raised, working class.
GRADU8TE
Career progression programme for graduate acting students who identify as, or were raised, working class.
ARDENT VOICES
A platform for sharing lived experiences from within the industry.
ARDENT RESOURCES
Free online learning tools for early career artists.
ADVOCACY
Using our voice to push for class equality in theatre.
PRODUCTIONS
BOLD STORIES, BIG STAGES
We’re producing powerful plays by working-class writers — and we’re doing it on a scale that demands attention. Our productions feature large casts, regional talent and national tours. In 2026, Our Country Now will bring four new plays to life across England. By 2035, we’ll have reached every region in the country. This is theatre that travels, connects and transforms.
This Island’s Mine (2019) - Photo Mark Douet
STRATEGY
Commission new work and produce existing plays by writers who identify as, or were raised, working class.
Commit to productions involving large creative teams to increase employment opportunities, with a minimum of eight performers.
Build connections with regional theatres leading to national touring productions.
Commit to sliding scale ticket pricing, pay what you can options and free performances.
Increase the proportion of audience numbers from working-class backgrounds.
DELIVERY
A main production every 2 years - either a new production or a revival of a previous piece of work.
Flexible approach to choosing plays in terms of what and where we produce work.
Expand our regional connections and touring circuit.
Increase audience capacity by progressing into larger venues/spaces
Build on relationship with National Theatre to utilize their support for work going into the regions.
By year 2035, our work will be touring to all 9 regions of England.
KEY AIMS
This strand of work contributes to Aims 1, 3 & 5.
ACTIVITIES
OUR COUNTRY NOW: 2026
In Autumn 2026, we will produce 4 x 70-minute new plays written by 4 working-class playwrights - Shahid Iqbal Khan, Florence Espeut-Nickless, Kelly Jones and Diana Atuona - who are based in four different regions around the country (Northwest, Southwest, East and Greater London) working under the umbrella title OUR COUNTRY NOW. A 2-day R&D with the writers and director Daniel Bailey in February 2025 was followed by all 4 writers being fully commissioned. In Autumn 2025, the plays will be workshopped for 1-week with directors and actors as part of the National Theatre Generate programme.
In 2026, the 4 plays will rehearse for 3-weeks in their respective region with a creative team including actors and director also sourced out of that region. This rehearsal process will be followed by a 5-week run in London (4 plays running in rep, 2 plays per night) at the Southwark Playhouse main space and then a regional tour running for 1 week in each of the three regions outside of Greater London – Northwest, Southwest and East of England.
MAIN PRODUCTIONS: 2028-2034
A main production in London and on tour in 2028, 2030, 2032 and 2034 – either new or a revival.
GRADU8TE
FROM GRADUATION TO SPOTLIGHT
Breaking into the industry shouldn’t depend on who you know or where you studied. Our GRADU8TE programme bridges the gap between university and professional theatre, offering training, open auditions and paid performance opportunities. We’re building a peer network to support early-career actors — because talent deserves a stage, not a postcode lottery.
ARDENT8 Ensemble 4 - Photo Jimmy Lee Portraits
STRATEGY
Broaden our touring circuit through expanded regional partnerships.
Increase workshop delivery and participation.
Provide more paid opportunities.
DELIVERY
Develop and expand a peer network to create a central point of connection for early career actors.
Continuation of ARDENT8 18-month workshop and paid performance model until 2027.
Move to open auditions for our 5th cohort of the ARDENT8 in 2026.
Engage a writer and director for Group 5 production in 2027.
Review of the programme with an aim to launch an enhanced Ardent Graduate Programme in 2029.
Commit to a graduate ensemble production every 2 years.
KEY AIMS
This strand of work contributes to Aims 1, 2 & 3.
ACTIVITIES
ARDENT8
Since its launch in 2016, the ARDENT8 project has been unlocking creative opportunities for graduates from working-class backgrounds who might otherwise not be able to access industry opportunities. Our flagship graduate programme ARDENT8 is an innovative, free vocational training programme for recent performing arts graduates, particularly targeting those who have graduated from Universities or HE Colleges based outside of London.
The ARDENT8 programme will continue with our fifth and final group in 2026-27 before we pause and review it with an aim to launch an enhanced graduate programme in 2029.
We will commit to a graduate production in London and on tour in 2029, 2031 and 2033.
PEER NETWORK
Launching in 2025-26, our Peer Network is a platform designed by Ardent to provide access to opportunities, workshops, affordable theatre tickets and much more, that is facilitated by the company but driven by those who want to connect with others and share ideas. A form of communication that is safe and friendly and has industry led conversations at its heart.
ARDENT VOICES
REAL VOICES, REAL STORIES
We’re amplifying the voices that matter — the ones too often ignored. Through blogs, interviews and live events, Ardent Voices brings working-class perspectives to the forefront. From libraries to theatres, from digital archives to post-show Q&As, we’re creating space for honest, challenging and inspiring conversations that reshape the narrative.
Activism in the 80s Podcasts (2023) - Creative Kin
STRATEGY
Increase opportunities for more industry voices to be shared.
Broaden the diversity of voices being shared.
Increase proportion of regional activities.
DELIVERY
Continuation of guest industry blogs that reflects current trends.
Revive our live and recorded conversation events with industry professionals.
Commit to seeking out regional voices and varied, diverse perspectives.
Commit to regular post-show Q&A events alongside productions.
KEY AIMS
This strand of work contributes to Aim 4.
ACTIVITIES
By reaching further afield and actively seeking voices through our networks and partners both in and outside of London, we will build a repertoire of conversations, blogs and interviews from those people who we believe have a story to tell.
BLOGS
A minimum of 8 guest blogs per year hosted on our website and promoted via our various social platforms to track, preserve and celebrate diverse experiences and opinions from within the industry.
IN CONVERSATION
2 In Conversation events per year taking place in venues in and outside of London where we interview an industry related person who has perhaps gone under-acknowledged. These events take place in venues such as a library, bookshop, theatre, or community centre and are recorded to build an online digital archive.
DIGITAL
Starting in 2025, we will film, edit and share 10 online interviews to promote positive role models of working-class actors in the industry consisting of 5 high-profile actors and 5 actors who do not have the same recognisable profile but, like 99% of actors, work and supplement their acting with other work between jobs.
Our productions will be professionally recorded to a high-quality and presented in non-theatre spaces to various London and regional groups and communities as a key part of our audience development strategy to engage more working-class audiences.
ARDENT RESOURCES
KNOWLEDGE IS POWER
We’re closing the knowledge gap with free, accessible resources for early-career actors. From video guides to downloadable training packs, we’re equipping creatives with the tools they need to thrive. Our research into training gaps across England will shape a new generation of support — because where you train shouldn’t determine how far you go.
Actors on Acting: Rachel Summers, Sophie Ward, Corey Montague-Sholay, Sophie Cartman and Aiden Gillet.
STRATEGY
Address the skills gap in actor training at HE Level.
Increase access to industry related information, resources and opportunity.
Boost beneficiary numbers.
DELIVERY
Assess training provision in HE institutions and Drama Schools to identify gaps.
Revamp and expand our free to access online resource for actors.
Social Media Officer to raise our profile and promote the network and resource.
KEY AIMS
This strand of work contributes to Aim 2.
ACTIVITIES
RESEARCH AND CONSULTATION 2025-26
Build a comprehensive picture of theatre and training provision in each of the 9 regions of England that compiles information such as actor training available, theatre provision and programming trends, and demographics about the proportion of working-class audiences attending shows.
Assess current training provision in HE institutions and Drama Schools to identify key skills and knowledge gaps. In doing so, we will gain a better understanding of actor training at HE Level from the perspective of a college or university as opposed to a London based accredited drama school. So often, we have discovered gaps in the learning process, as observed through our ARDENT8 programme. We aim to address this discrepancy and find ways, through collaboration with HE institutions and knowledge gained from research, to counter the imbalance. Research will identify the number of courses currently running at HE level, assess the provision at a representative selection and involve interviews with staff and students.
RESOURCE FOR ACTORS 2027-28
Drawing on findings from our research and input from the peer support group, we will significantly revise and expand our online and digital resources for actors to address skills and knowledge gaps between HE institutions and Drama Schools. The free to use online resource will include video guides, downloadable training packs, skills development courses, interviews with other industry professionals and links to other online resources.
FUTURE PLANS
We will continue to add to our Resource for Actors to directly respond to shifting trends and demands from the industry. For audiences, we will provide written and digital material that give insight into the themes, inspiration and current/historical context of each play through our blogs, website and social media platforms. Where there is an identified potential to provide a more comprehensive online resource we will seek out additional funds to create content such as oral history interviews, commissioned articles, photo exhibitions, school workshops and downloadable education packs.
ADVOCACY
KNOWLEDGE IS POWER
We’re not just talking about change — we’re making it happen. From transparent hiring to inclusive casting, we’re setting new standards for equity in theatre. We’re partnering with activists, pushing for policy reform and paying above industry rates. Our advocacy is loud, unapologetic, and rooted in justice — because class should never be a barrier to creativity.
Andrew Muir - Co-Creative Director
STRATEGY
Transform hiring, governance, and funding practices to prioritize class equity.
Establish benchmarks for inclusion and representation.
Raise awareness of class inequality in theatre.
DELIVERY
Transparent hiring and casting practices prioritising socio-economic diversity.
Revise board structures to include working-class representation.
Partner with other arts organizations and activists to push for industry-wide change, with a specific focus on working-class equality.
Advocate public policies that support arts funding and education prioritizing socio-economic diversity.
Promote and share best practice in delivering productions that are sustainable and are aligned with the principles of circular economy and net zero carbon
Engage a freelance PR and Press representative for the company to raise the profile of our work and secure commissions for written articles in industry journals and interviews on platforms with a wider reach of audience.
KEY AIMS
This strand of work contributes to Aim 3 & 4.
ACTIVITIES
Develop, implement and advocate recommended practices to ensure casting, audition and employment processes are accessible to those from working-class backgrounds - e.g. travel reimbursement, overnight accommodation, regional auditions.
Align with networks such as the Equity Class Network and other groups to raise issues around working-class equality and use our voice to advocate for change (E.g. sharing examples of good practice).
Commit to paying:
5% above standard Equity/ITC rates for all those employed.
Actors & stage managers at the start of each week rather than the end.
Invoices and reimbursement receipts within 48 hours of being received.
Casting policy where 50% of those employed in our theatre productions identify as coming from working-class backgrounds.
Develop a campaign with theatre peers to instigate a sector-wide marketing strategy that highlights the importance of live theatre and how beneficial it can be to the individual: the social aspect, the uniqueness of a live event, the direct connection with the story and characters as it unfolds in play format, being part of a shared experience etc.
ENVIRONMENTAL SUSTAINABILITY
A GREENER, FAIRER FUTURE
We’re committed to sustainability — not just in our values, but in our practices. From recycled sets to low-carbon touring, we’re aligning with the Theatre Green Book to reduce our environmental impact. Because a better theatre industry must also be a better world.
STRIKE! (2023) set designed by Libby Watson
As part of a bespoke agreement with Equity, we are working towards all of our productions meeting Theatre Green Book’s Intermediate standard or higher by the end of this 10-year plan. As a first step, we aim to achieve as much of the Theatre Green Book Basic standard by 2026 for our production of OUR COUNTRY NOW.
BASIC
50% of everything on stage must be reused or recycled.
65% must be stored or used again afterwards.
INTERMEDIATE
60% of everything on stage must be reused or recycled.
70% must be stored or used again afterwards.
To measure success against these criteria we will collect the following data:
Materials
% of set, prop & costume from recycled materials.
% of set, prop & costume hired or reused (e.g. from charity shops).
% of set, prop & costume recycled or repurposed at the end of the run.
Travel and transport
% of set, prop and costume sourced locally versus those delivered.
% of creatives and audience travel by public transport versus car/van.
Vehicle mileage and public transport distance between venues.
Marketing
% of print from recycled materials.
% of print sourced locally versus delivered.
Ratio of print/digital marketing used.
Data will be analysed using resources available via the Theatre Green Book and Julie’s Bicycle websites to better understand the carbon footprint of touring work of this scale and identify ways in which to improve practices to reduce our impact on the environment. The data collected will be used as our benchmark against the work of other companies of a similar scale as well as a baseline from which to do better. We will also:
Develop a separate Sustainability Action Plan by March 2026.
Nominate one trustee as a responsible lead to monitor progress.
Engage in external consultation with arts organisations who are further along the journey towards sustainability.
Embark on training to better develop our skills and knowledge.
Host a ‘round table’ discussion to share models of good practice and identify common challenges and solutions that contributes and builds an online resource on sustainability.
Raise awareness of ours and others practices by sharing our learning and commissioning annual blogs from guest contributors exploring issues of sustainability.
More widely, our work will support the UN Sustainable Development Goals as themes for creating a better society through theatre directly contribute to the following goals:
SDG 1 No poverty
SDG 4 Quality education
SDG 5 Gender equality
SGD 8 Decent work and economic growth
SDG 10 Reduced inequalities
TIMELINE & MILESTONES
1. Year 1-2: Foundation Building
Conduct audits of internal practices and identify areas for immediate change.
Grow and diversify our trustee board.
Grow our supporter base – audience, followers, and funders.
Carry out an assessment of the training provision in HE institutions and Drama Schools to identify gaps.
Build a network of like-minded supportive individuals from across the sector.
Build a regional partner network.
2. Year 3-5: Scaling Up
Expanding the regional touring circuit.
Launch reworked Ardent Graduate Programme (formerly ARDENT8).
Advocate for broader systemic change across the theatre industry.
3. Year 6-8: Deepening Impact
Establish a funding mechanism to sustain long-term initiatives.
Measure and publicize progress on equity goals.
4. Year 9-10: Industry Leadership
Share a comprehensive report on lessons learned and successes.
Ardent is a recognised company and a leading voice for class equality on a national scale.
MONITORING & EVALUATION
We are committed to evaluating our work to show the benefits to participants and audiences, improve how we deliver on-going and future projects, check the quality of our work, check we have achieved our aims and demonstrate funding has been well spent. To support us in achieving this, we will also look to work with external evaluators.
We collate two types of information as part of our evaluation and monitoring:
Quantitative: Facts and statistics about the participants and those attending shows/events.
Qualitative: The quality of the experience (people's thoughts, opinions, ideas and feelings).
For participants, we assess their improved skills, understanding of the industry and sense of identity as a professional creative. To measure this, we use two key methods:
Reflective Learning - where we interrogate the individual experiences of participants to draw conclusions about the impact, rather than setting targets to be attained.
Triangulation – where we evaluate aspects of the programme using data from 3 different sources (e.g. participant feedback, external practitioner comments and our own observations)
For audiences, where practically feasible, we ask them to complete questionnaires to collect anonymous demographic data and their opinions of the work. This questionnaire is available online, and the link is promoted at all events, on social media and by email to our mailing list. The data collected is used to inform decisions about the delivery of future activities. Our learning is then shared freely via published project reports, the creation of additional resources and communication with peers.
ORGANISATIONAL SUPPORT
Ardent is managed by two Creative Directors who in turn report to a board of trustees at least quarterly. We have no central office base and instead operate remotely, which means we have very limited overhead costs, and we can place ourselves wherever our projects need us to be. Our priorities for the next 4 years are:
Continued salaried posts for the two Creative Directors working 4 days per week each and rising to 5 days per week where projects demand more time.
Engaging freelance PR and Press support and employing a part-time Social Media Officer initially on one day per week to raise the profile of Ardent and contribute towards our advocacy goals.
Growing and broadening the skillset and diversity of our board to ensure there are no knowledge gaps and that our trustees reflect the demographics of those we seek to benefit.
Development and implementation of evidence-based policies and procedures that ensure working-class equality across the organisation.
PARTNERSHIPS
Collaboration is central to our work, enabling us to deliver consistently high-quality productions by drawing on a diverse national pool of talent—from emerging artists to seasoned professionals. We partner with both cultural and non-arts organisations and maintain close ties with key industry bodies. Our network spans a wide range of creatives, and we’ve contributed to thought leadership through articles published in major industry journals. Looking ahead, we aim to build connections with changemakers and organisations committed to equity and inclusion.
Our strategy includes:
Partnering with like-minded organisations to explore collaboration, share resources, and improve signposting to wider opportunities.
Engaging arts venues to grow our regional presence and provide vital access for under-resourced creatives.
Collaborating with advocates for equity and inclusion to share best practices and amplify our collective impact.
Building a coalition of individuals and organisations to challenge systemic barriers faced by working-class actors, writers and audiences
EXTERNAL CHANGES
To deliver our work effectively and equitably, we need external support and investment that directly removes financial and systemic barriers for working-class actors, writers, and audiences. This includes resources to subsidise access, expand outreach, and support risk-taking in programming. Without this, meaningful inclusion remains out of reach.
Funding to cover participation expenses (e.g., travel, accommodation, childcare) for those attending workshops or development opportunities — ensuring cost is never a barrier.
Subsidies to reduce ticket prices for low-income audiences of all ages — so working-class lives aren’t only portrayed but also seen by those they represent.
Investment in bold, inclusive programming that allows theatres to take artistic risks on underrepresented voices without fear of financial penalty.
Support for equitable casting practices — including outreach and travel budgets to ensure recent graduates from non-London, non-elite institutions are actively sought out and seen.
Resources to expand national outreach — creating real opportunities for talented individuals in overlooked regions to enter and thrive in the industry.
MARKETING STRATEGY
Our strategy will amplify our mission, grow our reach, and deepen engagement — turning values into visibility and online support into real-world participation.
OUR VOICE: WHAT WE STAND FOR
Every message we share will reflect our belief that:
We don’t just talk about change — we live it.
Theatre should be a right, not a reward.
Talent exists everywhere — access does not.
Working-class stories belong centre stage.
No one should be excluded because of where they live, what they earn, or who they know.
TONE & STYLE
Authentic: Speak with clarity and humility, never jargon or hype.
Uplifting: Celebrate wins, share hope, highlight possibilities.
Challenging: Name the barriers and call for change — unapologetically.
Inclusive: Always write with and for working-class actors & audiences.
OUR GOALS
Grow a national online community of working-class creatives and allies.
Convert digital followers into participants and audiences.
Amplify the voices of those we serve through bold, honest storytelling.
Build the Ardent brand as a trusted, go-to hub for emerging talent shut out by traditional theatre routes.
PLATFORM STRATEGY
Instagram (Creativity + Community)
Share behind-the-scenes footage, takeovers, rehearsal diaries, and Q&As with Ardent artists.
Create relatable, shareable content (e.g. myths of working in theatre, realities of regional creatives).
Highlight transformation stories from participants - confidence gained, careers launched.
Bluesky & LinkedIn (Credibility + Campaigning)
Advocate for industry change with bold statements and campaign-driven posts.
Spotlight barriers and structural inequality with stats, quotes, and lived experience.
Share achievements, partnerships, and calls for policy and funding support.
YouTube & Website (Resource Hub)
Host video content and digital resources for artists outside traditional training routes.
Feature past performances, interviews, and explainers for navigating the industry.
Archive toolkits, opportunities, and guidance for early-career creatives.
Email & Newsletter (Direct Engagement)
Personal, regular updates from the company — not just news, but insights.
Targeted mailouts for events, opportunities, and ticket offers.
Calls to action for audiences, funders, and collaborators to support our mission.
CONCLUSION: A CALL TO REIMAGINE THEATRE
The next ten years are not just a strategic roadmap — they are a manifesto for transformation. At Ardent Theatre Company, we refuse to accept a future where class determines creative worth, access or opportunity. We believe theatre should be a mirror to all of society, not a select few. The stories we tell, the people who tell them and the audiences who bear witness — all deserve to be as diverse and authentic as the country we live in.
Our vision is bold: to smash the systemic barriers that lock working-class talent out of the industry.
But it is not a vision we can achieve alone. We need writers who won't wait for permission. We need actors who dare to demand more. We need audiences who see themselves — and their communities — represented on stage. We need partners, funders, and allies who believe that culture without inclusion is not culture at all.
If you are an artist who’s been told you don’t belong — this is your invitation.
If you are an organisation ready to do better — this is your challenge.
If you are a theatregoer who wants to be part of a movement — this is your moment.
Join us. Fund us. Work with us. Challenge us. Together, we can dismantle the elitism baked into British theatre and build a sector rooted in equity, honesty, and shared humanity.
The stage is set. The future is unwritten. Let’s make it a future where class no longer writes the rules.
Andrew Muir and Mark Sands
Creative Directors
Bringing the curtain down on class inequality in theatre
