Westminster launch of new national alliance calling for greater recognition of independent regional theatre
- Five regional independent theatres (Birmingham Hippodrome, Leeds Heritage Theatres, Norwich Theatre, Newcastle Theatre Royal, and Marlowe Canterbury) launched the Regional Independent Theatre Alliance (RITA) at a Parliamentary Reception in Westminster on Wednesday 10 June.
- They set out three key asks to government: formally recognise the independent not-for-profit model within policy and funding frameworks; establish a regular data-sharing relationship with government so the sector’s contribution can be properly counted and understood; and champion a national co-investment strategy for independent theatre.
- New sector data reveals that RITA’s five founding members generate 2.6m annual attendances, £83m gross income and a projected £781m five‑year economic impact. Economic impact beyond stages includes £52m in local audience spending, £27m through supply chains and support for £10m of ACE‑funded touring work.
Five regional independent theatres launched the Regional Independent Theatre Alliance (RITA) at a Parliamentary Reception in Westminster. The alliance set out three clear asks to government and presented new data demonstrating their national economic and cultural value.
The event, sponsored by Dame Caroline Dinenage MP, Chair of the Culture, Media and Sport Committee, brought together theatre leaders, parliamentarians and sector stakeholders to mark the formal launch of RITA: a new alliance of independent, not-for-profit regional theatres that are neither subsidised nor purely commercial. Describing themselves as the third way: mission-driven, financially self-reliant and growth engines, they are generating jobs, building skills and measurable economic impact without day-to-day public subsidy and with no banker of last resort.
At the reception, RITA used the platform to make three clear asks: formally recognise the independent not-for-profit model within policy and funding frameworks; establish a regular data-sharing relationship with government so the sector’s contribution can be properly counted and understood; and champion a national co-investment strategy for independent theatre.
The alliance also presented data showing the scale of that contribution. Across its five founding members, RITA represents more than 8,000 theatre seats, more than 2.6 million annual attendances, more than £83 million in gross income, and a projected five-year economic impact of £781 million evidence, the alliance argues, that independent regional theatres are already delivering growth, resilience and public value at scale.
That wider value extends well beyond the box office. RITA’s founding members generate £52 million a year in audience spending for local restaurants, pubs, taxis and hotels, contribute more than £27 million through local supply chains, and support more than £10 million of Arts Council England-funded touring work through their venues, underlining the alliance’s argument that independent regional theatres are not only cultural assets, but vital economic infrastructure in places across the country.
Dame Caroline Dinenage MP said: “This launch is about bringing an awareness of RITA’s Third Way model to Westminster and demonstrating how independent theatres are self-sustaining community pillars. RITA’s members are driving growth across the UK, creating jobs outside of London and powering cultural hotspots. I’m excited for the future of this alliance.”
Stephen Crocker, Chief Executive & Creative Director of Norwich Theatre, said: “RITA has been formed to give independent, not-for-profit regional theatres a shared voice in national policy conversations and to challenge binary perceptions of the sector as ‘subsidised’ or ‘commercial’ by shining a spotlight on ‘the third way’. Norwich Theatre is proud to stand alongside fellow regional independent theatres and make the case for a model that is delivering extraordinary impact for audiences, communities and local economies without reliance on revenue subsidy. Through the launch of RITA and the impact data we are presenting, we are inviting government to recognise a part of the theatre ecology that is critical, but which goes unseen.
“At Norwich Theatre we generate income so that every year we can commit as much resource as possible to playing our fullest role in supporting a thriving local and regional cultural sector and continue to invest in enabling publicly-funded work to come to the East of England and enable a healthy national touring ecology. We are proud of our self-subsidy model and how that allows us to invest in this way but we need our unseen investment and impact to be recognised and matched with government capital co-investment is we are to sustain this into the future.”
Marianne Locatori, Chief Executive of Newcastle Theatre Royal said: “Our theatres are rooted in the communities they serve. The work on our stages and the impact of our creative engagement programmes reflects the places and people around us, creating far-reaching social and economic value.
“At Newcastle Theatre Royal, we see every day how investment in the ‘third way’ supports jobs, skills, confidence, and pride of place, helping our city and region to thrive.
“Our theatres are more than performance venues; they are cultural hubs that bring people together and strengthen communities. While RITA is not asking for ongoing subsidy, we do need recognition, support and co-investment to future-proof our buildings, so they remain fit for purpose for generations to come.”
Deborah Shaw, Chief Executive of Marlowe Canterbury said: “There’s a general assumption that outside of the West End, theatres need subsidy in order to exist. But RITA shows that in the right circumstances there is a viable model whereby the best elements of the commercial and subsidised sectors combine, and where commercial success is reinvested in supporting and creating great art and in making our cities and regions better places to live, work and study.
“RITA theatres provide access schemes to ensure everyone can enjoy world-class theatre on their doorstep. We are in the vanguard of providing vocational training and nurturing the next generation of theatre makers. And at a time of increasing polarisation in society, we are places of dialogue and empathy, where everyone can feel safe. We work with the health sector on wellbeing and the education sector on bringing creativity back into the classroom.
“The Marlowe is delighted to be part of this event, shining a light on the work we all do within our ‘third way’.”
Jon Gilchrist, Artistic Director and Chief Executive Officer of Birmingham Hippodrome said: “All the venues in this partnership are more than just theatres: we are important civic infrastructure. We exist to curate diverse programmes of world class work on our stages and use our assets to support artists and provide for our communities. But our venues are large and complex annual costs of repairs are increasing. Without a medium- and long-term investment plan for capital renewal we risk reducing the variety in our programme, limiting artistic ambition and increasing the chance of closure periods.”
Vicky Cheetham, Chief Executive of Leeds Heritage Theatres said: “Independent regional theatres play a hidden but vital infrastructure role within the national cultural ecology. We are not simply venues; we are the stages, technical platforms, skilled workforces and audience networks that enable subsidised productions to reach communities across the country. The success of much publicly funded touring work depends on theatres like ours being able to absorb risk, commit valuable stage time and provide the expertise needed to bring ambitious productions to life.
“The national cultural ecology depends on this partnership. While much of the focus is rightly on the work being created, it is important to recognise the theatres that provide the infrastructure that allows it to reach communities. If we value a thriving touring sector, we must also value and invest in the venues that make it possible.”
