Bridge the Gap is a year-long professional development initiative that runs alongside participants' existing commitments and is completely industry-led. It’s part of the wider EDI efforts by Stage One, an independent charity that supports the development of commercial theatre producers. The national programme has seen significant demand, with over 100 applications for just ten places in one cohort, which indicates the strong need for initiatives like Bridge the Gap in the sector.
We interviewed Siobhan Walsh, Bridge the Gap Programme Leader at Stage One, to learn more about Bridge the Gap and the programme’s long-term investment in changing the landscape of commercial theatre. We find out more about the importance of integrating Bridge the Gap participants into the broader Stage One ecosystem to ensure ongoing support and opportunities beyond the initial year. We also tap into Siobhan’s insights on the risk of not addressing EDI, how important it is to compensate those working on the programme, and Bridge the Gap’s biggest challenges and successes.
Which audiences do you aim to support within your organization?
Stage One is almost 50 years old and it was originally set up to support commercial theatre producers, initially in the West End. The programmes now support producers productions and theatres across the UK through investment, paid placements and bursaries.
The Bridge the Gap programme was created in 2018 to change the demographic of people that we engaged with because it was very apparent that the existing producers were from one particular demographic—and nothing was happening to change that.
We wanted to support producers from backgrounds we currently don't see in commercial theatre. That includes people who identify as working class or from a lower socioeconomic background, LGBTQI+, those who have a disability, those who are neurodivergent, from a culturally religious background—specifically Buddhist, Hindu, Jewish, Muslim or Sikh—and anyone from the Global Majorities.
What do you perceive as being the risks of not addressing diversity within theatre?
We are inundated with applications year after year because there isn't another programme I'm aware of that specifically supports commercial producers. There are very few programmes that support producers in general. Most venues and companies in theatre focus on artists and artists’ development in terms of playwrights, directors and performers.
There's a massive lack of support for producers so if this programme doesn't exist, nothing changes—these valuable people leave the industry because they're unsupported and it isn't feasible. This means it will remain one demographic, particularly in commercial, and it will remain with the people who can afford to do it. If you don't hear voices from underrepresented people, the work doesn't change, and the audiences won't change. Theatre will stay as it is, and it's already in a difficult place.
Can you tell us more about Bridge the Gap and what it delivers to its participants?
All of our current cohort are from underrepresented backgrounds and being on our programme means they'll have workshops each month, usually two hours with an industry specialist. They'll have networking opportunities and we match them with a mentor and at the end of the programme, they also have coaching.
Towards the end, they'll be asked to apply for a £5,000 kickstart grant, either for a show or just to continue their professional development. If they need more training or support, they also get invited to wider Stage One activities. This could be anything from seminars on theatre tax relief to working with agents to insurance, stuff they need to know.
We compensate any loss of income, anything for childcare, travel, hotels, lunch, whatever they need to cover out-of-pocket expenses. They're not paid to be on the programme, but we believe it shouldn't cost them anything to take part.
Why do you think Bridge the Gap is such an important initiative?
I think it's really key because it's not only just changing producing but changing the sector at large and theatre in general. Producers are the gatekeepers; they're the decision-makers. You can have hundreds of playwrights and great new work and great directors, but if you haven't got a producer, it doesn't get made. It's their job to take your idea and make it a reality.
Producers are also often responsible for everything financial, so one of the big barriers for Bridge the Gap is to raise investment and ask people for money. That's very difficult when you come from a background that is lower socioeconomic or doesn't traditionally have that culture of, 'Oh sure, have some money for your show'. That's the reason theatre has, historically, been one demographic because it attracts, by nature, people who are interested in the arts and in theatre and have disposable income, parents they can fall back on or relatives who will invest in their show.
What do you think makes the programme successful?
Listening and being responsive. Flexibility is key. You need to be open to thinking, if something's not working, we're not going to do that anymore, we're going to do something else and keep changing. For example, we carried on through the pandemic and just moved everything online. That's why we're on our sixth cohort—we could adapt because we're not tied to one particular funder. As an independent charity, we can pivot very quickly.
What have been some of the biggest markers of the programme’s success?
Increasingly, year after year, we've had more people leave the programme and become full-time producers. Often, they were just dipping their toes in but now it's their main job. We've also had people have great success, specifically in commercial theatre. At least six alumni have got an Associate Producer credit on a West End show and one is already co-leading a West End show.
Also, asking someone who has barriers to do something that's hard for someone who doesn't even have those barriers and them saying they feel they can do it because of Bridge the Gap is huge.
What have been some of the biggest challenges the programme has experienced?
I think the biggest challenge has been the barriers that existed. While a lot of work has been done to address them and whilst the programme has been successful, those barriers still remain. The biggest one is financial, but also the perception of what it means to be underrepresented.
This probably applies to all industries, but I think a lot of the approach sometimes, for lots of reasons, is a bit of a tick-box exercise. It's well-intentioned and it feels like people are more committed to change than they were when I started five years ago. However, it's about really committing and giving that time and that energy and that resource; doing it from the start and it not just being an add-on when they've already planned the show.
So, for example, it would help when it comes to mentoring or work experience or anything where we're asking you for your time leading a workshop—knowing what that really means. The barriers really are understanding what it means to be a producer on the Bridge the Gap programme. The industry recognises the need for change but I think there is still a long way to go to make sure those in established positions really understand the barriers and actively try to remove them.
What are some of the most valuable things you believe cohorts take from being involved in the programme?
I guess I would say the number one thing is confidence because it takes a lot of confidence to be a producer. It is a big role; it's a leadership role. It's a lot of pressure as well because you're fully responsible for every element of that show.
I always remind our boards that not only is this a really highly pressured job, but we're also asking underrepresented producers to be trailblazers and do things that no one's done before. They're sitting in rooms with people from money. We have lots of conversations about what that means when that's not your culture.
You can have skills but having the confidence to apply and the confidence to ask for money and to lead in that way is huge. Having someone to lean on who understands the same pressures can't be underestimated. Year after year, the feedback comments always say that one of the best things about Bridge the Gap was having the peer network of the other 10 producers on the programme. Building that fraternity is really key.
That's why the relationships are so important. Stage One is a small charity so the participants know us all well. It's why I introduced coaching—we’re not just talking about learning the knowledge and going away and applying it. The coach is also there for pastoral support, to ask 'How is your work-life balance?' and talk about imposter syndrome and all the other stuff that is equally as important as having the knowledge.
What advice or key learning would you share with other organisations considering delivering similar initiatives?
Don't reinvent the wheel. Look at what's already out there and see if someone is doing something similar. There isn't another programme like Bridge the Gap, as far as we know, but we very much talk to anyone that's doing any sort of producing course— it's a collaborative effort. If there is a programme that already exists, it could be replicated if it has been successful, or you could maybe even work in partnership with that programme. I think you can waste too much time trying to set new things up when good work is already happening.
Also, listen and let people in—let the participants of the programme dictate the work, the structure and the content. I never plan more than two months in advance because the participants will dictate the content of the workshop. It has to be tailored to the people that are on it. If you can, practice what you preach as much as possible. If you've got a programme that aims to diversify the industry and meet people's needs and overcome their barriers, then you should be trying to overcome those barriers within your organisation too.
If you’d like to know more about Stage One and Bridge the Gap or if you’d like to learn more about how you could work with the team to support your own initiative, visit stageone.uk.com/bridge-the-gap.
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